Alicia Framis

1967 | Barcelona, Spain
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— Alicia Framis

Spanish visual artist.

Having graduated from the University of Barcelona in Visual Arts, Alicia Framis continued her studies at the École nationale supérieure des beaux-arts de Paris, the Institut des Hautes Études, Paris and the Rijksakademie van Beelden Kunsten in Amsterdam. Her polymorphic and unclassifiable body of work has found itself on the fringes of current artistic creation. Her projects (installations, environments, performances, videos), coming from different domains – fashion, design, architecture – are not art objects in the classical sense, but rather situations or experiences in response to public, economic and architectural issues of society. Based on the assumption according to which “art must be part of life,” she reconnects with humanist ideals from the renaissance and questions the role of the individual, within a couple, in family and within communication systems. In Billboardhouse (2001), she reconsiders man’s position within the habitat through prototypes of largely open urban houses, abolishing the separation between the interior and exterior. As a militant artist, she creates projects that seem to serve as alternatives to social realities such as coexistence, solitude, marginality, minorities, security and violence, notably in regards to women.

In Anti-Dog (2003), she invited women to demonstrate in various European capitals while wearing clothes she had made. In Immunity Square (2000), she created a protected zone for political refugees, and in Metro with Cemetery, metro Châtelet, Paris (1999), she reintroduced “death” to the city of Paris. A. Framis likes to surround herself with various collaborators: designers, stylists, architects and even producers. Spectators are generally invited to play a role in her work, to experience the artist’s proposals for themselves. In Murmurs (2000), the spectator is encouraged to write their thoughts with invisible ink on a piece of paper and to then insert it into a hole in a wall that will then be plastered. In Walking Monument (1997), she suggested the construction of a living monument involving the participation of about one hundred people. In recent projects, she has changed scales to question the position of the individual within the universe.

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Ludovic Delalande

Translated from French by Katia Porro.

From the Dictionnaire universel des créatrices
© 2013 Des femmes – Antoinette Fouque
© Archives of Women Artists, Research and Exhibitions
Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Before your Name, 1997, performance with 8 women to recreate the sculpture by Gustave Vigeland, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Anti_dog, 2002, performance in Paris, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Anti_dog, 2002, performance, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Confessionarium, 2014, plexiglass, pillows, priest, bible, 140 x 187 x 233 cm, Collection Migros Museum Zurich, © Photo: Michael Claus, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Dreamkeeper, 1997, performance for lonely people, Stedelijk Museum Bureau, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Eternal Relationship, 2002, reversible architecture, wooden coffins, pillows, shelf, 200 x 60 x 60 cm, Collection Mercedes Vilardell, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Guantanama Museum, 2008, sound installation, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Leave here your Fears, 2019, interactive sculpture, © Photo: Fundación Cidade da Cultura / Manuel G. Vicente, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Lifedress, 2018, performance, © Photo: Hesse de Jonge, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, The Act of Mixing Blood in Times of Aids, 1996, performance, © Alicia Framis

Alicia Framis — AWARE Women artists / Femmes artistes

Alicia Framis, Walking Monument, 1997, performance involving 300 people as a living monument for 2 and a half minutes, © Alicia Framis

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