Exhibitions

Alicia Frankovich

8 February – 6 March 2019

 Starkwhite presents new work by Berlin / Australian based artist Alicia Frankovich. In her fourth solo exhibition with the gallery Frankovich continues her exploration into the possibilities and interactions of the body. A multi-dimensional practice at the intersection of sculpture, video, performance and installation, Frankovich’s work pits the design and impulses of our primal bodies against radical changes in technology, thought, society and the ecosystem. From an early practice that investigated 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 – in this exhibition Frankovich has directed her work within a microscopic focus, in order to reveal outer worlds.

Alicia Frankovich’s practice has long explored the equivalency between physical forms and the potential for new modes of imagining both human and non-human form and behaviour. Performances are matched by a parallel practice that asks us to reconsider the body as a critical landscape through which various discourses of encounter, technology, and self can be reconsidered. This new body of work reflects a recent interest in microchimerism (the existence of the DNA of others within our own bodies) and microscopic imaging.[1] Intrigued by the unknown worlds inside the body, Microchimerism (2018) explores this phenomenon through a composition of gold and pink metallic shapes across the gallery wall. The wall work takes a female karyotype, or number and appearance of chromosomes in the nucleus of a cell, as its form. This karyotype is the artist’s own, identified from blood taken and visualised by scientists in Australia. Accompanying the wall work are three works on paper which offer different views of raw data, images of how Frankovich’s karyotype presented on the glass plates in the laboratory. Isolated, stained, and examined under a microscope, the arrangement of Frankovich’s own chromosomes offers up her DNA, but is it really all hers? If microchimerism is defined as the presence of more than one genetically distinct cell population in the same individual, what does this mean for common understandings of the body and where does it leave individual identity?

The Western idea of self is an autonomous entity, defined by a presumed distinction from the other. But research into microchimerism suggests that we humans are not oppositional but constituent beings, made of many. Technology has offered exceptional developments, but increasingly it is at the crossroads of technology where nature and sex meet, and also where some of the most interesting theories on the body are being produced. Chromosomes supposedly tell us who we are, and at a time when restrictive definitions of identity, gender, and role, are dissolving and undergoing dramatic change, does this discovery offer meaning and plural understandings? Frankovich’s practice has previously speculated on what post-human may mean or look like, but this new body of work feels like she is questioning and calling for a new paradigm of the biological self, perhaps one that reflects poet Walt Whitman’s celebrated line “I am large, I contain multitudes.”

The all-encompassing phenomenon of the body — its insides, outsides, material and immaterial ways— could be considered the underlying fascination of Frankovich’s work. Accompanying the exhibition is a video titled Exoplanets: Probiotics Probiotics! (2018), which displays microscopic footage of probiotic agents in the trendy fermented milk drink Kefir. The work collapses together macro and micro perspectives, depicting pale wriggling forms swimming through a deep indigo-coloured environment. Possibly heavenly bodies in a vast galactic system, or sperm anxiously seeking ova, the work points out that our bodies are a symbiotic composite of multiple parts, a galactic-scale ecosystem for microscopic life.

Alicia Frankovich has exhibited widely in New Zealand and Internationally. Recent exhibitions include: Exoplanets, curated by Hannah Mathews, Monash University Museum of Art, Melbourne, Australia, 2018 (solo); Can Tame Anything, curated by Melanie Oliver, the Dowse Museum , Lower Hutt, New Zealand; After Blue Marble, curated by Thomas D. Trummer, KUB BIllboards, Kunsthaus Bregnez, Austria, 2018 (solo); Image is a Virus, Le Case d’Arte, Milan, Italy; Counternarratives: Performance and Acrtions in Public Space, Maryland Institute College of Art, Baltimore, USA 2018; Atlas of the Living World, curated by Karen Archey, Stedelijk Museum, Amsterdam (performance commission), 2017; Klontal Triennial Performance programme, curated by Alexandra Blattler and Sabine Rusterholz Petko, Kunsthaus, Glarus, Switzerland, 2017; Shout Whisper Wail! The 2017 Chartwell Show, curated by Natasha Conland, Auckland Art Gallery Toi o Tamaki, New Zealand, 2017; OUTSIDE BEFORE BEYOND, curated by Eva Birkenstock, Kunstverein fur die Rheinland und Westfalen, Dusseldorf, Germany, 2017 (solo); Frutta e Gambe, Le Case d’Arte, Milan, 2018 (solo); TarraWarra Biennale: Endless Circulation, curated by Helen Hughes/Discipline and Victoria Lynn, TarraWarra Museum of Art, Victoria, Australia; Trans-corporeal Metabolisms/Liste Performance Programme, curated by Eva Birkenstock, Basel, Switzerland, 2016; Les Limbes, curated by Caterina Riva, La Galerie centre d’art contemporain, Noisy-le-Sec, France, 2016; Bots Bodies, Beasts – The art of being Humble, Stadium Generale, curated by If I can’t Dance I Don;t Want to be Part Of Your Revolution, Gerrit Reitveld Academie, Amsterdam, 2016; The BILL: For Collective Unconscious, curated by Misal Adnan Yildiz, Artspace, Auckland New Zealand, 2016.

Alicia Frankovich is the Australian Government Research Training Programme Scholar at the Australian National (2010-2020. The artist also wishes to thank the The Centre for Advanced Microscopy (CAM) at the Australian National University and the Australian Microscopy & Microanalysis Research Facility (AMMRF), and Dr Alison Archibald and Victorian Genetic Clinical Services.

[1] Microchimerism is not unusual, the most common natural source is pregnancy, due to the reciprocal cell exchange between mother and child.

Exhibitions

Current

Upcoming

Past

Layla Rudneva-Mckay | I Roll

15 February 2022 - 19 March 2022

Fiona Pardington | Tarota

16 November – 18 December 2021

Fiona Pardington | Tarota Preview

5 October – 7 October 2021

Jan van der Ploeg | The Other Window

17 August – 12 October 2021

Laith McGregor | Second Wind

3 July 2021 – 7 August 2021

Richard Maloy | Maternal Routine

3 June - 19 June 2021

The Auckland Art Fair 2021

24.02 - 28.02

Will Cooke | Every Wall Is A Door

15 January 2021 - 13 February 2021

Whitney Bedford - Bohemia

Seung Yul Oh: Horizontal Loop

John Reynolds: RocksInTheSky...

For Pink Pussycat Club | as part of THE BILL

Fiona Pardington | Childish Things

Seung Yul Oh memmem

Rebecca Baumann Once More With Feeling

SIGNALS

The Armory Show 2010 | 1001 Nights
an installation by John Reynolds

Art LA Contemporary 2010

ShContemporary 2008 | Gavin Hipkins, Hye Rim Lee, Jae Hoon Lee and Grant Stevens

Jonny Niesche | Poikilos | 17 November - 22 December

GEMMA SMITH - Thin Air

SLIPPERY PAINTING

Performative Geographies

Sampler 2020

Gordon Walters: From the Archive

Richard Maloy

Rebecca Baumann: New Work

Jan van der Ploeg | The Other Window | 17 August to 12 October

the artists in conversation, The Estate of L. Budd et al.

Art of Wine

Billy Apple® and Tāme Iti: Flagged

Clinton Watkins

Yuk King Tan

Sampler 2019

TIKI: Orphans of Māoriland

AM/PM/AM

BILLY APPLE® is N=One

Ani O'Neill

Laith McGregor | Second Wind | July 3 - August 7

Alicia Frankovich

Martin Basher: Untitled

The Estate of L.Budd_et al.

Gavin Hipkins: Block Units

John Stezaker: Collages

Grant Stevens - The Mountain and the Waterfalls

Gordon Walters

Sampler

125

Len Lye: Love Springs Eternal

Richard Maloy | Things I have Seen

Michael Zavros | The Silver Fox

Martin Basher | Devil at the Gates of Heaven

Daniel von Sturmer, Luminous Figures

Martin Basher | Hawaiian Tropic

Nabokov's Blues: The Charmed Circle

John Reynolds 2017

BIll Henson | 1985 -2021 | 21 May - 19 June

On the Grounds

Billy Apple

Beyond Landscape

John Reynolds | WalkWithMe...

Laith McGregor | Swallow the Sun

Matt Henry | Analogues

Daniel Crooks | Vanishing Point

Material Candour 2016

Fiona Pardington | 100% Unicorn

Layla Rudneva-Mackay: Running Towards Water

Martin Basher Birds of Paradise | 13 April - 14 May

Clinton Watkins | lowercase

Whitney Bedford 2016 | Lost and Found

Alicia Frankovich | The Female has Undergone Several Manifestations

Fiona Pardington | The Popular Recreator

Gavin Hipkins | Block Paintings

Gordon Walters: Gouaches and a Painting from the 1950s

In Motion

Laith McGregor | Somewhere Anywhere

Starkwhite Queenstown | New Location

TOTEM | A Starkwhite exhibition curated by Mary Morrison

Group Show

Martin Basher | Jizzy Velvet

John Reynolds BLUTOPIA

Gavin Hipkins Erewhon

Grant Stevens Hold Together, Fall Apart

Michael Zavros Bad Dad

Not Another Art Fair | 24 February -3 April

THE ANALYSIS OF BILLY APPLE®

Layla Rudneva-Mackay

Lovers

Glen Hayward I don't want you to worry about me

Matt Henry High Fidelity

Richard Maloy All the things I did by Richard Maloy

Li Xiaofei

John Reynolds Vagabondage

Clinton Watkins Frequency Colour

BAZINGA! curated by Robert Leonard

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Whitney Bedford: This for That

Jin Jiangbo: Rules of Nature

Martin Basher

Billy Apple®: $9,020 AND $5,750 TOP UPS

Jim Speers Long Days

Ross Manning: Field Emmissions

Peter Peryer Edition

Jae Hoon Lee Antarctic Fever

Greetings from Los Angeles curated by Brian Butler

Seung Yul Oh HUGGONG