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Alicia Frankovich

A group of around 40 diverse people lie on the floor of an art gallery. The people are lying on their sides, in an identical pose, with one knee bent upwards, and looking in the same direction, with serious expressions. An audience of around 40 people stands and sits on the edge of the group, watching.
A group of around 10 diverse people in a large, open art gallery space. The people are smiling, facing different directions, and posing with different gestures.
Alicia Frankovich
A group of around 50 diverse people in a large, open art gallery space. The people stand, facing the same direction, in an identical pose, with one arm upstretched and with focused expressions. An audience of around 100 people stands and sits on the edge of the group, watching.

Alicia Frankovich

born 1980 in Tauranga, New Zealand
lives and works in Melbourne, Australia

 

The Work, 2019
performance, 60 min

14 and 28 September 2019, 1pm
Photographs by Christopher Snee, AGNSW

For Making Art Public, Alicia Frankovich presented The Work, a large-scale choreography of the Entrance Court at the Art Gallery of New South Wales, Sydney.

Performed by those who have worked behind-the-scenes across the organisation’s 50-year history, from gardeners and security guards to make-up artists and architects, The Work explored the language of public art and offered renewed insights into the Kaldor Public Art Projects archive. Frankovich’s choreography, assisted by Brooke Stamp, drew from participant’s memories and experience of past projects, revealed through actions, physical arrangements and dialogue. The 60-minute performance was presented on two occasions in September 2019 and marked the opening month of the exhibition.

Alicia Frankovich is one of the leading artists of her New Zealand generation, known for her performances, sculptures, videos, and her enquiry into exhibition situations that engage viewers within exhibition formats. Frankovich’s practice investigates how the physicality and behaviour of a body operates within social settings and constructs—including plays of dominance and re-negotiating the audience/performer relationship. She has a BVA in sculpture from AUT, Auckland, and an MFA from Monash University. Frankovich is a current recipient of the Australian Government Research Training Program Scholar, PhD, The Australian National University, Canberra. Frankovich lives and works in Melbourne, Australia.

 

Performed with John Bayley, Keith Bell, Brendan Buckley, John Corbishley, Michael Dagostino, Sophie Day, Xueer Du, Lauren Eiko, Neil Evans, Ryuichi Fujimura, Qingqing Guo, Alison Guthrie, David Huggins, Chrissie Ianssen, Stephen Jones, Bettina Kaldor, John Kaldor, Brian Mahoney, Karen Libbury, Richard Maude, Nataasha Menon, Ian Milliss, Gill Minervini, April Murdoch, Glenn O'Reilly, Jessica Pedemont, Travis Rice, Michael Rolfe, Leigh Russell, Marian Simpson, Lleah Smith, Cassandra Starr, Robin Stern, Christelle Tuyau, Margot Warre, Ivey Wawn, Tracey West, Serena Weatherall, Beiyuan (Hugo) Zhang, John Zhao and others
Commissioned by Kaldor Public Art Projects as part of the exhibition Making Art Public: 50 Years of Kaldor Public Art Projects at the Art Gallery of New South Wales, 7 September 2019 – 16 February 2020
Images courtesy the artist, Kaldor Public Art Projects and Starkwhite, Auckland
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