Anna Franceschini, Villa Straylight, 2019, Courtesy: Vistamare/Vistamarestudio, Pescara/Milano, Photo credit: Roberto Sala


Anna Franceschini is an artist, filmmaker and researcher. She works on the filmic representation of objects and the cinematic qualities of showcases for commodities. Her videos and films has been shown at the Rotterdam Film Festival, Locarno Film Festival and Torino Film festival amongst others. Institutional solo and group exhibitions include Dusseldorf Kunstverein, Spike Island in Bristol, Maxxi and MACRO in Roma, Museion in Bolzano, CAC – Vilnius, Centre Pompidou and and Les Abattoirs in Toulouse, Fiorucci Art Trust in London, Quadriennale in Roma. In 2009 she has been commissioned a filmic project as the closing event of the Italian Pavilion at the 58a Biennale di Venezia. She is a fellow of the Rijkskademie van Beeldende Kunsten in Amsterdam and of the Italian Academy for Advanced Studies at Columbia University. She is a PhD candidate in Visual and Media Studies at Iulm University, Milano. Her fields of research are media, film history, pre and para-cinematographic devices, exhibition design, cultural industry and critique of commercial displays. Upcoming shows, performances and screening will take place at ICA in Milano (in collaboration with the Swiss Institute), Pro Helvetia in Venice, Witte de With in Rotterdam. Franceschini is a finalist for the Illy Prize 2019 for the Present/ Future section at Artissima in Turin.

Anna Franceschini’s machinic compositions, carry the same disturbing wake of the hermetic and decadent figures which populate Neuromancer. They are quasi-conscienze at the service of a trippy and transformist architecture which slowly flakes apart under the blows of a bigger and even more paranoid system of allusions and failed wills.
The piece is a dance of desires and deceptions – all made of limitations in the good company of an agonizing and fluttery attempt of positioning.
Franceschini’s new production intervenes on two different levels: the perspective of a social body which blend into goods and the delirious desire of reaching the neutral region of things. On one side the awareness of the ontological continuity between beings and commodities, on the other the will of reaching the limits of the indifferent region, where things don’t reside in the gap between body and function.

The cosmic element embodied by the wig, knots the threads of this squinty poetics: artificial limb, artifice, excessive and therapeutic accessory, luxury decorations, in between an habit and a disguise. Prohibited by the Constantinople council in 692 a.c., “the most Baroque thing of the Baroque”, triumphed during the seventieth century, taking part to the fundamental “logic of the fold” described by Gilles Deleuze as “operational function” and “trait” of the century. The oldest sample is here, in Turin, preserved at the Egyptian Museum. It’s the “Merit wig” that was found in a XVIII dynasty’s noble grave in the Teban necropolis. Intensified by the artifice of the wig, the despotic activity of the artist’s machinic compositions confirms the endless impermanence. In front of us stands the perpetual variation of things. A paradoxical effort is required to access this space. There is a need to suspend, forget and to surrender unconditionally. And finally to go through the machine: to take part to an endlessly available and restless energy, which asks nothing but to be continued.

Vincenzo Di Rosa