Anna Franceschini is filing her nails, walking around the living room
Anthony: Modernism at the poolside, is that a starting point?
Anna: It was something that we said, right? Somehow speaking about the end of Modernism but with a spritz in your hand.
Anthony: So the spritz signifies the end?
Anna: Or the beginning of a new era…I would define the spritz as more Postmodern than Modern. Or maybe it is just on the verge. Perhaps the Negroni or even the Negroni Sbagliato—because it has this sort of casual nature about it, because it was invented by mistake; which is how most things come about don't they?
Anthony: Yea, I think that is how humans have gotten to this point in history; through mistakes. Figuring out which berries to eat or not eat by way of death.
Anna: But I think that is not really the Modernist way, it seems that mistakes are not really allowed in Modernism. It has to be beautifully choreographed. I am still into that somehow, trying to conceive or think that mistakes can actually be included.
Anthony: So then you approach this more in the Postmodern way?
Anna: Threesomes; I think it is kind of sexy to be in-between Modernism and Postmodernism. My last solo show was all about this, watching Modern cities fall apart.
Anthony: So where do you see the tableaux vivant?
Anna: At the side of the pool
Anthony: Through the glass of the Negroni.
Anna: Optical illusions are a big part of my practice. I study and analyze all the film tricks—all the manipulations one can apply towards the audience to amuse them. All this is about pleasure. I investigated how films produce pleasure as an effect on the audience. So I don't think that this show is so far from staring at the world through a cocktail glass. It's about the distortion of reality.
Anna: Do you think it's necessary to speak about circularity, recursivity and movement? or not?
For her solo presentation at Frankfurt am Main, Anna Franceschini builds a space which could be considered a stage—a tableau vivant where the performing bodies can imitate objects and at the same interact with them. Anthropomorphic displays are positioned around the space, with two performers (Laura Pante and Miranda Secondari) positioning themselves in relation to the objects, mimicking their gestures and moving throughout the space—creating a life size recursive display.
Anna Franceschini (Pavia, 1979, lives and works in Milan) received a MA in Media Studies at Iulm University in Milan. She was a resident artist at the Rijksakademie van beeldende kunsten – Amsterdam (NL). Her work has been presented and awarded in several film festivals such as IFFR/Rotterdam Film Festival, 60° Locarno Film Festival (CH) and TFF/Torino Film Festival (IT). Solo exhibitions include Spike Island, Bristol (UK), Dusseldorf Kunstverein (DE), Fiorucci Art Trust – London (UK), Peep Hole – Milano (IT), Bielefelder Kunstverein (DE), Objectif Exhibitions – Antwerp (BE).