Erica Ferrari (1981) is a visual artist and researcher. She holds a PhD from the Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (FAU-USP) and from Universität der Künste Berlin (UdK), as well as a master’s and bachelor’s degree from the Escola de Comunicações e Artes da Universidade de São Paulo (ECA-USP). In recent years, she has produced objects and installations based on her research into the relationships between urban space, sculpture, and social practice.

Her solo exhibitions include Estudo para monumento (Funarte, São Paulo, 2017); Has always been dystopia (XPO Gallery, Enschede, 2019); Memory-Lab Pavilion (Jester, Genk, 2022); and Letter of time (The Mill, Vicksburg, 2023). She has also been part of group shows such as InterAKTION (Sacrow House, Berlin, 2015); 32nd Ljubljana Biennale of Graphic Arts (Ljubljana, 2017); Novas Efervescências (Espaço Cultural Porto Seguro, São Paulo, 2019); and 37º Panorama da Arte Brasileira (Museu de Arte Moderna, São Paulo, 2022/2023).

Ferrari has been an artist-in-residence at several institutions, including Sculpture Space (New York) and Pivô (São Paulo). She received awards such as the LIAEP – Lighton International Artists Exchange Program (2020) and the Prêmio FUNARTE de Arte Contemporânea (2015). Her works are held in major collections, including the Museu Nacional da República (Brasília) and the Museu de Arte do Rio de Janeiro.

Vocabulário de Trabalho (2024) belongs to a series of same name that departs from the mapping of a non-hegemonic and anonymous sculptural production related to the city’s architecture in order to create installational reliefs or three-dimensional objects. It is a proposal that investigates the construction of memory landmarks in the urban context, especially in cities with histories of urbanization, migration, and overlapping memories, speculating on new ways to think about the monument. The idea is to map a different kind of sculptural production, generally associated with anonymous and serial labor, particularly present in constructions linked to the working class, and which form an important physical record of memory that is constantly threatened by real estate speculation.