Ali­cia Frankovich


Art Almanac - - Art In Australia - Tess Maun­der

Po­ten­tially the most ur­gent is­sue of our time is that of the An­thro­pocene. There has been much dis­course en­gag­ing with the in­ter­sec­tion of our planet’s new epoch and that of creative prac­tice. Artists are strad­dling a range of dif­fer­ent method­olo­gies for how to con­front the is­sue; from en­vi­ron­men­tal con­sid­er­a­tions in their ac­tual ma­te­rial prac­tice; front-line ac­tivism, to a lay­ered ap­proach to all the com­po­nents that make up or ‘live in the shadow’ of the An­thro­pocene, such as cap­i­tal­ism, ter­ri­to­ries, glob­al­i­sa­tion, tox­i­c­ity, tech­nol­ogy, sovereignty and more. Ali­cia Frankovich is an artist who is en­gag­ing with; chal­leng­ing and ques­tion­ing these col­lec­tive re­al­i­ties; in­clud­ing the An­thro­pocene; and where it, as an epoch con­nects and in­ter-re­lates to other facets of so­ci­ety.

Frankovich is in­ter­ested in bring­ing our at­ten­tion to the nu­ances present in this age; for ex­am­ple our con­nec­tion to tech­nol­ogy and what that foun­da­tion means for what and who is viewed as hu­man, along­side the in­her­ent value sys­tems that sup­port the con­di­tion­ing of what is nor­mal in terms of hu­man life.

This new in­ter­sec­tion of ideas is ti­tled ‘Ex­o­plan­ets’ and will be on show at Monash Uni­ver­sity Mu­seum of Art, cu­rated by Monash’s Han­nah Matthews, and is largely a com­mis­sioned stag­ing; along­side a tem­po­ral ex­hi­bi­tion ex­pe­ri­ence from Frankovich’s re­cent ma­jor solo show at the Kun­stverein für die Rein­lande und West­falen, Düs­sel­dorf, ‘OUT­SIDE BE­FORE BE­YOND’, 2017. Aes­thet­i­cally, Frankovich’s prac­tice has a strong con­nec­tion to ideas of move­ment and this spa­tially aware ap­proach to prac­tice will be ex­pe­ri­enced at an in­ter­per­sonal level when nav­i­gat­ing the space. Au­di­ences can ex­pect to see works that fall be­tween the medi­ums of sculp­ture, video, an­i­ma­tions and in­stru­ments.

Frankovich was born in New Zealand and now lives and works in Ber­lin and Can­berra. She ob­tained a BVA in sculp­ture at AUT in Auck­land in 2002 and grad­u­ated from Monash Uni­ver­sity with an MFA in 2016; mak­ing this ex­hi­bi­tion a home­com­ing of sorts. The artist has trav­elled and ex­hib­ited widely; in 2012 she was short-listed for the Wal­ters Prize, New Zealand’s premier arts prize and in 2018 was a fi­nal­ist in the Kun­st­preis der Böttch­er­straße in Bremen. Frankovich has un­der­taken var­i­ous res­i­den­cies at the ISCP, New York; Kun­stler­haus Bethanien, Ber­lin; AIR, An­twerp; Firesta­tion, Dublin; and Gertrude Con­tem­po­rary, Mel­bourne. These net­works are im­por­tant to the artist’s prac­tice; and help to cre­ate deep and nu­anced chan­nels of ex­change be­tween Aus­tralia and the world.

In­deed, what Frankovich ar­gues is true; hu­man­ity is a wealth of mul­ti­plic­i­ties; and even at the in­di­vid­ual layer we may per­form and adopt mul­ti­ple iden­ti­ties to nav­i­gate through the space of life. Cru­cially too; now not only are these per­formed, but also pro­jected and vis­i­ble within wider cul­ture in a way that wasn’t pos­si­ble in the past due to ho­moge­nous pro­jec­tions of re­al­ity.

Tess Maun­der is a writer, cu­ra­tor and re­searcher based in Bris­bane.

Monash Uni­ver­sity Mu­seum of Art Mel­bourne 6 Oc­to­ber to 15 De­cem­ber, 2018

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