Current project:The Hybrid Couple
ever marry a hologram
social requirements and stereotypes in different cultures, as well as those who have experienced trauma or suffer from agoraphobia, disfigurement, or fear. This technique can serve as a therapeutic tool for individuals who have experienced trauma and sexual abuse, helping them restore a normal relationship with the opposite or same sex. For instance, Framis has a friend who is a widow and struggles to fill the void left by her husband. AI and human partners can be a beneficial option for individuals in need of companionship.
(Framis was trained as an Astronaut by the European Space Agency in Utah, California, and she opened the first shop called MOONLIFE, the first shop to buy things for space travelers, in Amsterdam in 2011).
Loneliness and her past
For 25 years, I have been exploring loneliness and intimacy through performance research. In 1995, I had a mannequin doll companion in a French ghetto called Villeneuve. Living together and exploring how to adapt to an uncomfortable neighborhood. Since then, I have developed many projects with different communities about specific loneliness in cities and I develop tools to help people have better possibilities to live together, like my work “Forbidden architecture,” where I made 15 different houses for non-binary families.
After reflecting on her own experiences with loneliness, she creates artworks that could help or interact with others. One example is “Compagnie de compagnie” (1996), where I showcased 13 identical twin couples in Utrecht Central Station. These couples accompanied lonely people to their houses.
She also collaborated with other communities and professionals on projects like “Loneliness in the City” (1999-2001). This traveling project took place at CBK Dordrecht, Museum Aitberg, Monchengladbach, MACBA Barcelona, KIASMA Helsinki, and MIGROS Museum in Zurich. “Loneliness in the City” was a long-term research project exploring loneliness in modern urban life. The project involved a pavilion that served as a research laboratory and community space, where ideas were investigated, tested, and shared through workshops, performances, video programs, music, and interactive events tailored to address local loneliness issues and engage participants.”I have always wanted to push art further, and now I am exploring how AI with art can decrease the feeling of loneliness in humans. We know that robots and holograms will become personal. In my case, I want to develop an artistic way for an artist, in this case me, to develop a relationship with a hologram and explore how this relationship will come to be.”
“The work is made in many phases and there are many things to develop for the first time in human life. I want to make a documentary from the beginning to document the progress of our discoveries. For example, AI is still very connected to science and lacks poetry, art, and warmth. I want to make an art documentary that includes drawings, interviews with other women, sketches
about bodies, situations, to explore daily life. I want this my boyfriends romantic artificial and humans the next artificial intelligence more closely therefore than a robot. Love and an inevitable expressing how telephones and filled as interactive further. I would science and help diseases, gender social requirements cultures, or suffer People who abuse can to regain same sex. replacing partners companionship.
bodies, arms, romantic dreams, domestic situations, and the daily life of my couple. I want explore how to integrate the hologram into my life.
this man to be Dutch because most of boyfriends were Dutch, but this time, it’s a relationship between a woman and intelligence. We know that soon robots humans will be sexual partners, but for me, important step is emotionally involving intelligence with humans. Holograms are closely related to my feelings than robots, therefore I choose to develop a hologram rather robot.
and sex with robots and holograms are inevitable fact. They are great companions, expressing empathy. We have already experienced telephones saved the world from loneliness filled the void of human lives. Now, holograms interactive presences in our homes can go
love to give my soul and my body to and art to develop deeper relationships help people with congenital or acquired diseases, limited physical abilities (disabilities), imbalances in some countries, other requirements and stereotypes in different and those who have experienced trauma from agoraphobia, disfigurement, or fear. who have experienced trauma and sexual can use this technique as a therapeutic tool a normal relationship with the opposite or sex. For example, my friend is a widow, and replacing her husband is difficult. AI and human can be a good option for those who need companionship.
Installation view of the exhibition Sistershoop (2022) at Upstream Gallery.
Once Upon a Time There Was a Woman (2022)
As gender archeology is slowly unmasking the social construction of gender identities of the past, it is becoming clear that women were not just passive participants. Yet women still face and have to deal with this misunderstanding in current society.
By placing the typical representation of femininity and fertility, a venus, in all forms and shapes on a pedestal with their power stunted by a glass ceiling above them, the artist creates a symbol of women throughout the history of humanity. With the use of humor, Alicia Framis denounces the situation in which women are and have been, and strives for a more equal world for everyone
“The glass ceiling”—an expression used for the first time in 1978—is artificial, addressing an invisible barrier in women’s professional careers. The invisible glass curtails and limits women’s aspirations and opportunities. Now, in 2022, forty-four years after the coining of the expression “The glass ceiling”, what has actually changed for women over the intervening time?
Once upon a time there was a woman (Tanagra), 2022
Sculpture, mirror pedestal, glass and nylon
Alicia Framis
The Walking Ceiling (2018)
In the video work The Walking Ceiling (2018), a glass plate is once again used as the clear metaphor for the position of women in society. This time defending a new design of leadership power, which will not exclude access to women.
A glass plate, measuring 2 by 3 meters, is placed over the heads of professional women from Madrid, who Framis has asked to help her carry it through the streets of the city. The plate was supported using a piece of padded cloth or silicone, so that glass does not slip and also to cushion vibrations. The movement of the glass plate through the city, carried by these women, is silent yet also aggressive. The action is part of the artist’s search for new, truly feminine ways for women to protest: though without imitating masculine attitudes or symbols.
Alicia Framis
The Walking Ceiling, 2018
Video
3:57 min.
Insomnia
paintings (2022)
With fluorescent paintings, made with the tape used in airplanes to show passengers the way in the dark, the artist addresses one of the most common bodily manifestations of fear and uncertainty: insomnia. The presented paintings serve as accompaniment in nights of wakefulness, reflecting the phrase Leave Here Your Fears.
LEAVE HERE YOUR FEARS, 2022
Reflective tape on fluorescent tape
140 x 100 cm
Alicia Framis
Framis LEAVE HERE YOUR FEARS. GOTHAM, 2022
Reflective tape on fluorescent tape
Alicia
40 x 40 cm
Sistershoop
Within the Sistershoop project, Alicia Framis focuses on the invisibility of women’s sports practice. The project is the result of the artist’s research process and dialogue with groups of female basketball players in Gran Canaria. Through this project the artist wants to question and demand equal rights for sports women using clothing as the medium for her critique. The artist collaborated with a group of women, of different ages, who are part of the female basketball team Canterbury Lions of the Canterbury School, a private educational center in Las Palmas de Gran Canaria. For Sistershoop Framis drew, amongst other literary works, from the manifesto Glitch Feminism, written by curator and writer Legacy Russell.
Afro Futures Data, 2020
Textile
90 x 50 cm
Alicia Framis
Photoprint, framed
60 x 46 cm
Photoprint, framed
60 x 46 cm
Alicia Framis Sistershoop, 2021
Alicia Framis Sistershoop, 2021
Alicia SAFE SPACE, Vintage basket ball
SPACE, 2021
ball shirts, vinyl letters
Framis
Safe Space, 2021
Photoprint, framed
64 x 42 cm
HOW TO VANISH? (2020)
Framis reminds us how important it is to dress with a message. The vulnerable message that the dresses shown here express, is almost like being naked. The works are a way for Framis to give women their right to communicate about what they’re thinking and how they feel. The dresses are a way for women to fight for inequality in silence.
Today more than ever we need dressed up banners to give our point of view on what is happening in the world, says Framis, and to fight for our future and conditions of life on earth. Framis invites us to action. Not only are the paintings an expression of our being, of a vital moment in our life, but they are also a way to express that art must be a way to socialize with others and be part of a discourse that concerns us.
Alicia Framis
HOW TO VANISH?, 2020
Canvas ready to wear made with airbag material and bic, 10 ratchets
2 boots and 2 gloves
120 x 120 cm
Is My Body Public? (2018)
Is My Body Public? is a fashion collection that explores the borders between what is public and private in our everyday lives. The dresses resemble the aesthetics of women’s lingerie but are in fact banners for demonstration. The text ‘Is my Body Public’ is embroidered on every dress in 15 different languages, representing women worldwide. The fabric of the dresses is very fragile, and the work is subtle, but the message is strong.
The issues of privacy and body politics that Framis discusses in this work take on a different, more specific meaning for women. Women in many countries worldwide are still not allowed to make decisions that concern their body, for example in places where women have to obey certain dressing rules or codes. At the same time women’s bodies, appearances and ways of dressing seem to be a subject that the public, in particular men, think they can publically comment on or critique however they like, for instance by harassing women in the streets. Women’s bodies in these cases seem to be viewed as public property. In many places in the world women are not able to undergo legal, safe abortions and in many places where this is possible women are judged for doing so. Here again others, often men, are deciding over women’s bodies and their sexual and reproductive rights. These are just a few examples of social issues regarding sexism and women’s rights that lead to the question Framis is posing with this work. The dresses offer a tool for women to explore different, playful ways of demonstrating important issues such as (systematic) sexism. By working together with women from different backgrounds in the performance the work gains a participatory and global character.
Framis Is My Body Public?, 2018
Photoprint, framed
32 x 49 cm (unframed size)
Framis Is My Body Public?, 2018
Photoprint, framed
32 x 49 cm (unframed size)
Alicia
Alicia
Alicia Framis Is My Body Public?, 2018
Photoprint, framed 32 x 49 cm (unframed size)
Lifedress (2018)
The LifeDress collection is connected to Framis’s anti_dog collection, which consists of clothing made from bulletproof material to protect women (particularly women of color) against violence.”
At Art Basel 2019, the Framis presented 9 dresses made out of airbag fabric. The installation LifeDress (2018) brings together elements of technology, activism, and performance to address inequality in the workplace. The dresses are made out of airbag fabric from cars: a hightech material made in Japan. Each dress is made to protect against a different form of harassment, and designed to change form when intimidation occurs. The work can be seen as social commentary, dealing not only with the more serious cases of sexual harassment but also with general outmoded attitudes. With LifeDress, Framis brings a serious issue to the fore through a surrealistic act. The airbag fabric used for the dresses is highly unconventional for daily life. Airbags are, after all, intended to prevent accidents – moments in which one’s fate is in the hands of circumstance.
Alicia Framis
LifeDress, 2019
Airbag fabric (nylon)
Installed at Art Basel 2019
One Night Tent (2002-2019)
Framis’ One Night Tent (2002)* is an installation consisting of two outfits that can be transformed into a tent; a temporary shelter for spontaneous sexual encounters. Framis also provided detailed instructions for using the tent. The photographs seen here depict this “reversible architecture for a one-night-stand”. From a transgressive utopia that is subtly yet effectively transformed into reality, Framis constructed these clothing items as a ludic accessory to be turned into a kind of tent that would provide their users with
a place to give free rein to their desire. At the same time, the work makes one reflect on how intimate moments are experienced depending on whether they take place in public or private spaces, and how this dichotomy relates to the modern desire for quick, immediate pleasure.
*Framis’ One Night Tent is an installation, conceived in 2002. The photographs seen here were taken in 2019.
Reversible architecture for one night stand
1 — Find the person who you want to have sex with.
2 — Put the man’s shirt on the floor and close the buttons and zippers, turning it into a perfect square.
3 — Close the buttons and zippers of the woman’s dress and create a dome.
4 — Attach the square floor to the dome with the zipper and buttons.
5 — Take the two sticks from the man’s bag and insert them through the loops in the dome. Secure them on the metal pins at the corners of the square.
6 — Open the entrance zipper and enter the tent. Close the zipper and have sex. In tropical countries you can use the mosquito net.
We wish you a lot of fun with your one night tent. If unfortunately a problem does occur, please contact your distributor.
Alicia Couple
Photoprint, 87,5
Alicia Framis Tent 1, 2019
Photoprint, framed 87,5 x 127 cm
Couple 1, 2019
Photoprint, framed
87,5 x 109 cm
Alicia Framis
Absalon in Cuba (2017)
With the work Absalon in Cuba (2017) the artist specifically draws attention to the current state of women living in Cuba. The photo print shows a dress that consists of 570 nanas (aluminum scourers) functions as Framis’ absurd act to protect the unprotected. The scourers in this dress symbolize the absurdity of the impossibility of protecting oneself in a house without protective laws regarding women. To find security between the walls of the house, like the elephant that hides behind the mouse to mislead its enemy, women protect themselves. in their kitchens with scourers, nails, and teeth.
Absalon in Cuba, 2017
Photoprint, framed
76 x 116 cm
Departures (Utopia) (2015) Airport terminals panels to take us to utopian places–
Using the same language as the information panels that we find in the airport terminals in order to take us to Utopian cities, for example: Utopia, Dogville, and Metropolis. These destinations have been extracted from historical works of philosophy, religion, science fiction, film and architecture.
Alicia Framis Departures (Utopia), 2015 engraved stainless steel 125 x 82 cm
