In the 2006 video 8 de Junio, Las Modelos Libran by Spanish artist Alicia Framis, nude male models parade down a runway carrying handbags.
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The exhibition's excellent roster of artists includes my personal heroines, such as Louise Bourgeois, Betty Tompkins, Tracy Emin, Sophie Calle, Joan Semmel, Susan Silas, as well as Herlinde Koeble, Eunice Golden, Aude du Pasquier Grall, Anna Jermolaeva, Alicia Framis, Anke Doberauer, ORLAN, and Julika Rudelikus.
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Workshop visits (School visits) at Can Framis. Pre-book dynamic visits for families at Can Framis.
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The Fundació Vila Casas has three museums divided by artistic disciplines: Can Framis (painting), Can Mario (sculpture) and Palau Solterra (photography), with two art spaces in Barcelona for temporary exhibitions. Palau Solterra (Torroella de Montgrí). Museum of Contemporary Photography (National and International) Can Framis Museum is the latest Fundació Vila Casas museum, an art center devoted to the promotion of contemporary Catalan painting. Located in the old Can Framis factory complex, the museum displays more than 250 paintings from the sixties up to the present made by artists born or currently living in Catalonia.
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Can Framis Museum is the latest Fundació Vila Casas museum, an art center devoted to the promotion of contemporary Catalan painting. Located in the old Can Framis factory complex, the museum displays more than 250 paintings from the sixties up to the present made by artists born or currently living in Catalonia. In addition to the permanent collection which is divided in three floors, Can Framis Museum also has an area dedicated to temporary exhibitions named Espai Aø. They update their permanent collection periodically and every three months they open two new temporary exhibitions. Espai Volart.
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The Can Framis Museum of Contemporary Painting. Ground floor view during the Where are you Kafka? Where are you Malevich? permanent collection (2013-2014).
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Alicia Framis received her first BFA from Barcelona University and a second from the École nationale supérieure des Beaux-Arts in Paris. She has also received two MFA degrees: one from Institut d’Hautes Etudes, Paris and another from Rijksakademie van Beeldende Kunsten, Amsterdam. Framis has taught architecture at Delft University of Technology, and fine art at both Sandberg Instituut and ArtEZ Institute of the Arts.
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Can Framis is the latest Fundació Vila Casas museum, an art center devoted to the promotion of contemporary Catalan painting. Located in the old Can Framis factory complex, the museum displays more than 250 paintings from the sixties to the present made by artists born or currently living in Catalonia. In addition to the permanent collection which is divided in three floors, Can Framis Museum has an area dedicated to temporary exhibitions named Espai Aø. The permanent collection is updated periodically, and two new temporary exhibitions are opened every three months. The museum has an education program that offers activities designed for pre-school to secondary school, as well as for people with special educational needs.
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The Can Framis Museum of Contemporary Painting. First floor view during the Monologue, Dialogue and Concept permanent collection (2014-2016). Dell'Arte by Jaume Plensa. The sculpture represents the sins of Dante's Inferno (The Divine Comedy).
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Framis is represented by Barbara Gross Galerie in Munich, Germany, Galeria Juana de Aizpuru in Madrid, Spain and Upstream Gallery in Amsterdam, The Netherlands. She has formerly been represented by Galerie Micheline Szwajcer in Brussels, Belgium, among others.
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In 2003 Framis released her project anti_dog, a collection of designs made with a special fabric, Twaron, that is fire-, bullet-, and dog bite-proof. The anti_dog collection protects women against aggressive behaviour and was inspired by stories of dark complexioned women having attack dogs released at them during the night in Berlin neighborhoods populated by white supremacists. Her project Not For Sale (2008) uses photos of children with the intention of raising awareness of child slavery worldwide. For 100 Ways to Wear a Flag (2007-2008), Framis invited sixteen designers to produce a garment inspired by the Chinese flag.
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Cartas al Cielo by Alicia Framis, in Central Park New York during “Drifting in Daylight” organized by Creative Times, May 2015 The belief that humans can achieve a more fulfilling future is a key component of Framis's work, and is shown through projects that deal with the delicate act of wishing. Her piece Wishing Wall (1998-2001) traveled around Netherlands, Italy, Switzerland, and Germany, and collected a total of 1,563 wishes. The first Wishing Wall was made for the Serre di Rapolano, Italy. Framis decided to make holes in the wall because the building was from the Mussolini era and the townspeople were slightly ashamed of it.
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The permanent painting collection is housed in the Can Framis Museum of Contemporary Painting. It has almost 700 pieces between the ones exhibited and the ones that are kept in the warehouse. The museum displays more than 250 paintings dating from the 1960s onwards by a wide range of artists born or living in Catalonia selected by the private collector and owner Antoni Vila Casas.
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The education service offers a range of activities for infant, primary and secondary school students and for people with special needs that take place at the rooms and workshops of Can Framis. The aim of this program is to complement the education in contemporary art at schools and institutions. # Workshop visits include a visit to the museum and a practical activity in the workshop. It is for children from pre-School (P3) to grade 6 of Primary School.
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In 2003 she was chosen by the curator Rein Wolfs to exhibit at the Dutch Pavilion at the Venice biennale, along with Meschac Gaba, Carlos Amorales, Alicia Framis, and Erik van Lieshout."Dutch Pavilion 2003", Venice Biennale, Retrieved 7 June 2014. In 2005 she created a temporary artwork at the Stedelijk Museum Amsterdam in Amsterdam, entitled Face Your World, which allowed young people to re-imagine and design their surrounding neighborhood."Stedelijklab CS" , Stedelijk Museum, Retrieved 7 June 2014.
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Opened in 1997, with the introduction of the Leandre Cristòfol biennial, it is located in a building (the town's corn exchange) dating from the 12th century, in the medieval area of the town. Its individual exhibitions focus on contemporary art, especially Spanish artists, of which the museum includes a solid permanent collection, as well as educational activities and a documentation centre. Artists whose work has been the subject of exhibitions in La Panera include Alicia Framis, Cabello/Carceller or Antoni Abad.
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Each dress is made to protect against a different form of (sexual) harassment, and designed to change form when intimidation occurs. The work can be seen as a social comment on gender patterns in our society nowadays, and aims to discuss a serious topic through a surrealistic act. For the work Is My Body Public? Framis uses garments to explore the borders of that which is private and that which is public, and wishes to focus attention on the issue of women’s control over their own bodies.
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This highlighted the explosion of the garment export industry in modern China, while also questioning how the associations of nationhood could both empower and burden the wearer. Continuing with her decades-long exploration of topics that deal with gender inequality, Framis presented two new demonstrations in 2018. Lifedress employs elements of technology, activism and performance, while addressing sexual harassment and violence towards women. The work consists of dresses made out of airbag fabric from cars: a high tech material made in Japan with a high resistance to impacts and fire.
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The headquarters of the Fundació Vila Casas are located on the first floor of a Catalan Art Nouveau building in Barcelona. In addition to the Can Framis Museum, the Vila Casas Foundation has two art spaces in Barcelona and two museums in the Empordà (Girona) region of Catalonia. Espai Volart 2, one of the two art spaces that Fundació Vila Casas has in Barcelona. # Casa Manel Felip, headquarters of the Vila Casas Foundation. Since 1998, the headquarters of the Fundació Vila Casas have been located on the first floor of the Modernist building Casa Felip, at Ausiàs Marc Street, number 20, Barcelona.
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National Museum of Art of Catalonia stands out for its collection of Romanesque painting, considered one of the most complete in Europe. Barcelona has a great number of museums, which cover different areas and eras. The National Museum of Art of Catalonia possesses a well-known collection of Romanesque art, while the Barcelona Museum of Contemporary Art focuses on post-1945 Catalan and Spanish art. The Fundació Joan Miró, Picasso Museum, and Fundació Antoni Tàpies hold important collections of these world-renowned artists, as well as the Can Framis Museum, focused on post-1960 Catalan Art owned by Fundació Vila Casas.
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In addition to the permanent collection which is divided in three floors, Can Framis Museum also has an area dedicated to temporary exhibitions named Espai Aø. They update their permanent collection periodically and every three months they open two new temporary exhibitions. Espai Volart. A space for temporary exhibitions of artists featured in the collection. In 2002 it was the foundation's first art space to open its doors to the public in Barcelona. It is located in the old storerooms of the Modernist building Casa Antonia Puget, on Ausiàs Marc 22, and was declared a site of local cultural heritage by the Barcelona city council. It was built in 1904 by the architects Roc Cot i Cot and Ramon Viñolas.
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Performs some of his best-known series like Siamese, Blackened Times or Metal-Piel formed by paintings, sculptures, installations and technological medium. Which are exposed in the Metelkova Museum, Can Framis Museum, XXV Biennale of Alexandria at the Museum of Alexandria, the Maeztu Museum of Estella, The 4th Biennial of Contemporary Art in Moscow, Metelkova National Museum of Slovenia, Centre d'Art Santa Monica … The joint work of Romulo Royo with Luis Royo has its origins back in 1994 when they work together in the Malefic universe. In the following years their works part away, they develop their activity independently in different studies and cities. In 2006 he collaborated with Luis Royo and undertook a trip to Moscow, where their art would be captured on dome Medvedev of 24 meters in diameter.
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The participants covered a wide spectrum in terms of ages and artistic languages, but mainly involved artists, both male and female, who, through their commitment, have contributed to building a feminist language that fights to reduce gender inequality. Some participating artists also represented individual sexual orientation and gender diversity. Works by the main artists on the Spanish art scene were shown throughout the entire museum, from one end of the building to the other, and ranging from the realism of the 60s to conceptual art and all the way up to movements in the XXI century. Participants included Esther Ferrer, Carmen Calvo, Paz Muro, Carlos Pazos, Miguel Benlloch, Mari Chordà, Marisa González, Isabel Villar, Eulàlia Valldosera, Cristina Lucas, Ana Navarrete, Juan Hidalgo, Mau Monleón, Alicia Framis, Paloma Navares, and Marina Núñez, among others.
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Bart Cassiman is also active as a freelance art-critic, having written essays for catalogues on a.o. René Daniëls, Raoul De Keyser, Harald Klingelhöller, Lili Dujourie, Cristina Iglesias, Jan Vercruysse, Thierry De Cordier, Paul Robbrecht, Walter Swennen, Narcisse Tordoir, Juan Muñoz, Thomas Schütte, Isa Genzken, Alica Framis, Robert Suermondt, Aglaia Konrad, Carla Klein,… and several articles for national and international newspapers and art-magazines (De Standaard, De Morgen, Knack (magazine), Kunst & Museumjournaal, Meta, Artefactum, Kunst Nu, Metropolis M and Flash Art), about art policy and specific subjects related to art. In 1989 he edited the first small monography De architectuur en het beeld (The Architecture and the Image) on the work of the architects Paul Robbrecht / Hilde Daem. In 1995 he did the same on the work of Thierry De Cordier with a text of Stefan Hertmans.
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