黑料不打烊

Kunstverein Gartenhaus presents NIGHTS OUT, Anna Franceschini鈥檚 first institutional solo exhibition in Vienna jointly curated by Attilia Fattori Franchini and Ilaria Gianni.

In her practice, Anna Franceschini explores the multiple ways of displaying commodities. Underlying her observation of reality is cinema through its constituent elements: movement, light, framing, and editing. Kinetic sculptures, choreographed performances, 鈥嬧�渂achelor(ette) machines鈥濃�夆�斺�墂hich inject femininity into the Duchampian idea of apparatus, and Xerox copies, are for the artist 鈥嬧�渁 cinema by other means.鈥� Franceschini鈥檚 work seeks to expand the concept of animation in sculptural terms. Reversing the ends of the discussion about 鈥嬧�渃inema as machine,鈥� she redirects the gaze toward the hypothesis of a 鈥嬧�渕achine as cinema.鈥� By creating sculptures intended as moving images, she turns commodities into quasi-living beings and fabricates devices whose subjectivity is emphasized within a mise-en-sc猫ne.

Three dancing machines haunt KUNSTVEREIN GARTENHAUS鈥� blacked-out space, activating abstract mechanical coreographies. Human presence is signified by flowing wigs, which move seductively, automatically, disturbingly, or even pathetically, following the rhythm of the pole itself. The dance is repetitive, scattered, infinite, showing both desire and fatigue, as if performing some type of ritual.

Constructed as a theatrical body, NIGHTS OUT unveils animated machine-like characters as subjects. It invites the public to consider how objects can take on meanings beyond the function for which they were designed, challenging normativity and opening up new perspectives on the material world around us. In the exhibition, the sculptures appear as unsettling traces of a relentless drive for productivity that erodes both economic structures and interpersonal bonds.

NIGHTS OUT becomes the stage for the expression of both the real existence of the technical artifacts and the fictive flicker of life activated by the consumerist logic. It unveils the rhythms woven by capitalism into machines, their tireless dances of labor and desire.