Alicia Frankovich

Born Tauranga New Zealand, 1980

2002
Bachelor of Visual Arts (sculpture department), Auckland University of Technology, Auckland
2005-6
Gertrude Contemporary Art Spaces, Melbourne
2007
Advanced Course in Visual Arts, Fondazione Antonio Ratti (with Joan Jonas)
2008
The Firestation, Dublin, Ireland
Alicia Frankovich currently lives and works in Berlin and Melbourne

 

Selected Exhibitions

2009 -10

Picturing the Studio, Cur. Michelle Grabner and Annika Marie, The School of the Art Institute, Chicago, USA (forthcoming).

Still Vast Reserves, Cur., Emily Cormack, Alexie Glass & Francesco Stocchi, Magazzino d'Arte Moderna, Rome, Italy.

A Plane for Behavers, Cur. Emma Bugden, ARTSPACE, Auckland, NZ (solo).

Super Segue, Cur. Ruben Keehan, ARTSPACE, Sydney, Australia (solo).

Automatic, Cur. Chris Fite-Wassilak & Gavin Murphy, Auto-Italia, London, England and Pallas Contemporary Projects, Dublin, Ireland.

PERFORMANCEbeHANDLUNGSRAUM, Rundgang 09 Spaziergang, Kunsthalle Fridericianum, Kassel, Germany (performance).

For Keeps: Sampling Recent Acquisitions 2006 - 2009, Auckland Art Gallery Toi o Tamaki, Auckland, NZ.

Performance Studies International Conference #15, Shift performance, 'I want to be attached to a random entrant', Zagreb, Croatia.

Lungeing Chambon, (performance), Beyond the Green Door, Melbourne, Australia(solo).

 

2008

SEMPRE MENO, SEMPRE PEGGIO, SEMPRE PIÙ, (durational performance) Le Case d'Arte, Milan, Italy (solo).

Energies, Annarumma404, Naples, Italy (solo).

Counter/action, Starkwhite, Auckland, NZ (solo).

The Art of the Bicycle, cur. Brad Haylock, Donʼt Come Gallery, Melbourne, Australia.

International Prize for Performance, fourth edition, Cur. Fabio Cavallucci and Cristina Natalicchio, Galleria Civica di Arte Contemporanea Trento, Italy.

The, cur. Julian Dashper, The Suburban, Oak Park, Illinois, USA.

Body Work, Le Case d'Arte, Milan, Italy.

Flying Fox, (performance), 1st floor, 79 Ponsonby Road, Auckland, NZ (solo).

 

2007

Invisible Miracles, cur. Anna Daneri, Roberto Pinto and Cesare Pietroiusti, Neon FDV, Milan, Italy.

Too Near Too Far; and insight into the Australian Independent Art Scene, cur. Chiara Agnello and Roberta Tenconi, C/O careof, Milan, Italy (two person, with Simon Horsburgh).

Other Worlds Other News, cur. Aaron Seeto, Starkwhite, Auckland, NZ.

Corso Aperto, Fondazione Antonio Ratti, Lake Como, Italy.

 

2006

Busan Biennale, A Tale of Two Cities, cur. Manu Park, Busan, South Korea.

The Velodrome Project - a collaborative project with Laresa Kosloff, CLUBSproject, at the Brunswick Velodrome, Melbourne, Australia.

2003/2005/2006, Rm 103, Auckland, NZ (solo)

Of Stadiums and Construction Sites, Gertrude Contemporary Art Spaces - studio 12, Melbourne, Australia (solo).

Studio Artist Show, Gertrude Contemporary Art Spaces, Melbourne, Australia.

AN OCCUPATION (OF A HOUSE), 236 Drummond St, Carlton, (Residential), Melbourne, Australia.

CLUBSproject at Ocular Lab, Ocular Lab Inc., Melbourne, Australia.

Redmond, Left, Frankovich, RMIT Project Space, Melbourne, Australia.

 

2005

We are Housed (in and around all of this stuff), cur. Danae Mossman, The Physics Room, Christchurch, NZ (solo).

Standard Apparatus, CLUBSproject, Melbourne, Australia (solo).

The Air Between Us, Gertrude Contemporary Art Spaces, Melbourne, Australia.

www, Cur. Julian Dashper, Kaliman Gallery, Sydney, Australia.

Deuce, MOP Projects, Sydney, Australia (solo).

 

2004

A Kelly-Frankovich Production, Conical Inc., Melbourne, Australia (solo).

Manoeuvre, Cur. Monique Redmond and Nova Paul, St. Paul St. Gallery, Auckland, NZ.

 

2003

Produnova Stadium, MOP Projects, Sydney, Australia (solo).

 

2002

Social Behaviour, 1a, 2-4 Lorne Street, (Residential), Auckland, NZ (solo).

1359 1359 1359 1200 5277 720, 1a, 2-4 Lorne Street, (Residential), Auckland, NZ (solo).

SITHT ROIFSY, 1a, 2-4 Lorne Street, (Residential), Auckland, NZ (solo).

1.Internationaler Plus Kunstpreis, Dusseldorf und der Kunst, Germany.

If we Stay here we won't have a Car, Pilot Project Room, Auckland, NZ.

Modern Life is Rubbish, 1a, 2-4 Lorne Street, (Residential), Auckland, NZ.

 

Selected Bibliography

Barucco, Simona, Alicia Frankovich, Galleria Annarumma404, Napoli, Arte e Critica, No. 55, June- August, 2008, pp 100.

Braddock, Chris, Frakcija Visual Arts Journal, Issue no. 50, 2009, pp 28-33.

Curnow, Ben, New New Zealand Art, Canary Gallery, Auckland, 2004.

Anna Daneri, Roberto Pinto and Cesare Pietroiusti, Invisible Miracles, Fondazione Ratti, (exh. cat), Publisehd by Mousse and Fondazione Ratti, Milan, 2007.

Gifford, Adam, The Interactive Art of Occupying Space, The New Zealand Herald, B8, May 16, 2009.

Grieves, Harold, We are Housed (in and around all of this stuff), Volume series catalogue, The Physics Room, Christchurch, 2005.

Hester, Bianca, Things full of people 2002 - 2005 A partial index of multiple events, images, texts, 2005.

Jackson, Anna, The Gymnastics of Space, NY Arts Magazine, vol 12, No 1/2, January - February, 2007, pp 51.

Keehan, Reuben, Double agents: Complication in recent performance, Art & Australia, Vol 47 No 1 Spring 2009.

Lisette Lagnado, Ice Cream, Contemporary Art in Culture, Phaidon Press, New York, pp 112-5, 2007.

McCulloch, Amber, New Work; Alicia Frankovich , Artworld Australasian Edition, Issue 9 June-July 2009, pp 108-111.

McKenzie, Rob, Emerging Writers Catalogue; Gertrude Contemporary Art Spaces, Melbourne Alicia Frankovich, 2006.

McNamara, TJ, 'Gymnast adds a twist to performance piece', The New Zealand Herald, Saturday May 30, 2009.

Milner, Jacqueline, 'A Return to Vulnerability', RealTime, issue #91 June-July 2009 pp. 50.

Oreto, Elda, Il salto di Alicia nell'arte a rischio, La Repubblica, 4 June, 2008.

Salzano, Giorgio, Da Annarumma 404 Le prospettive straniate di Alicia Frankovich, Il Roma, 20 May, 2008.

Tenconi, Roberta, Permission to stay. Essere un artista straniero a Milano, Flash Art Italia, n. 268, February-March 2008, pp. 96-98.

Viola, Eugenio, Energies- Alicia Frankovich Annarumma404, Napoli,
Flash Art Italia, n.271, August-September 2008, pp. 204.