Anna Franceschini

Anna Franceschini's videos and films have been showcased at numerous festivals, such as the Rotterdam Film Festival, Locarno Film Festival, Torino Film Festival, Courtisane in Ghent, and Vilnius Film Festival.

Biography of Anna Franceschini

Anna Franceschini was born in Pavia, Italy, in 1979. From 2001 to 2003, she studied Media Studies at IULM University in Milan. In 2006, she obtained an MA in Television, Cinema, and Multimedia Production from the same institution. 

In 2006, Franceschini received a DIPLOMA in Film Direction from Scuola Civica di Cinema e Nuovi Media in Milan. From 2017 to 2020, she again studied at IULM University, receiving a PhD in Visual and Media Studies.

She is a teacher at IULM University in Milan. Starting from 2022, she holds the position of Art-based Researcher for AN-ICON, a research group.

In 2017, her project CARTABURRO was awarded the Italian Council grant, sponsored by the Ministry of Culture. In 2019, she created the short film BUSTROFEDICO as a special project for the Italian Pavilion at the 58th Venice Biennale. Additionally, she received a grant from the Pollock-Krasner Foundation for the year 2022.

Anna Franceschini's solo exhibitions include "All Those Stuffed Shirts" at Triennale Milano (2023), "Il salotto cattivo" at Campoli Presti in Paris (2022), "Did you know you have a broken glass in the window?" at Vistamarestudio in Milan (2020), "Tu sei la notte" at Vera Cortes Gallery in Lisbon (2019), and many more. 

Currently, she lives and works in Milan, Italy. 

Anna Franceschini's Art Style

Anna Franceschini explores objects, artifacts, and commodities along with their methods of presentation to reconsider their role and arrangement within the realm of capital's aesthetics. Embedded in her examination of reality is cinema, utilizing its fundamental components: motion, light, framing, and editing. Kinetic sculptures, performances, bachelor machines, and photocopies serve as alternative means for Franceschini to create a cinema-like experience.  

Franceschini's ongoing work aims to broaden the notion of animation within sculptural contexts. Inverting the discourse on "cinema as machine," the artist endeavors to shift focus towards the idea of a "machine as cinema." Through crafting sculptural moving images, she imbues commodities with quasi-life and constructs apparatuses where subjectivity is accentuated within a staged setting.

Her films, devoid of traditional film elements but comprised of machines and tools, contemplate contemporary existence as a panorama of spectacular objects. Within the framework of late capitalism, mechanized mishaps and animated byproducts of industrial processes metamorphose into spectacle.