ANNA FRANCESCHINIWORKS

AUGUST 2012

INDEX

FILMS AND INSTALLATIONS1. THE SIBERIAN GIRL

( YOU MUST BELIEVE IT TO SEE IT - LE TEMPESTAIRE)(UNTITLED)

(A SIBERIAN GIRL)2. IT’S ABOUT LIGHT AND DEATH (TO JOSEPH PLATEAU)

3. IT’S ALL ABOUT LIGHT (TO JOSEPH PLATEAU) / 14. IT’S ALL ABOUT LIGHT (TO JOSEPH PLATEAU) / 2

5. LET’S FUUUUCK! I’LL FUCK ANYTHING THAT MOOOOVES!6. TO KNOW A THING YOU MUST CALL IT BY ITS NAME

7. UNTITLED (ALMOST LOST)8. NOTHING IS MORE MYSTERIOUS. A FACT THAT IS WELL EXPLAINED

VIDEOS8. THE PLAYER MAY NOT CHANGE HIS POSITION

9. CASA VERDI10. POLISTIRENE

11. PATTINI D’ARGENTO

CV

The starting point of my work is reality.It’s an observation and an exploration of reality through the audio-visual language.My films focus on things and places and on their relationship with the human beings.In my work I observe the production processes of goods, in particular of the manufactured products linked to the representation of human beings (dummies), to the human rituals and to the practices concerning body and games (medical equipment manufacturing, toy safety test); this observation allows me to come into con-tact with the things secret life and hidden energy.Like human beings, things aren’t neutral or inert entities: their own history influences not only their form and function, but also their use.Finding out how things are manufactured reveals hidden symbolic practices and alchemical worlds that seem to be tied to magic.Through my work I’m trying to leave a trace of the transitory symbolic worlds linked to production processes.At the same time I’m trying, by shooting, to find out the energetic remnants in the places or buildings dedi-cated to activities (like sport or mass consumption) that produce deep emotions.The places absorb the desires of the people going through them.The traces of these emotional transferts can be seen by looking at the wear and tear of the material, at the places during the moments of transition between activity and inactivity, at the incessant effort to regenerate and clean the places.By shooting, also the slow and small changes, the energetic adjustment, the places’ humours can be seen and heard.Each of my works is an attempt to reconstruct a cinematic ritual.My filmic practice and experience are based on the sole use of field recorded audiovisual material, on a shoot-ing time that adapts itself to the time of the filmed situation, on long and lonely periods in which I try to find a deep and close relationship with places and things.My most recent research, according to cinema theories from the Twenties (Jean Epstein,i.e.), claims the use of moving images as an instrument to show the ‘hidden life of things’, trying to achieve the cinematic quality that is contained and implied into objects and spaces, leaving traces of the figurative aspect of reality.

YOU MUST BELIEVE IT TO SEE IT (LE TEMPESTAIRE)16mm film, colour - mute, 6’, 2012

Il film You must believe it to see it (Le Tempestaire) è una lunga sequenza in cui un veliero si muove tra le onde di un mare in tempesta. La drammaticità della situazione si coglie nell’atmosfera cupa e oppri-mente, fino a quando un evento ex machina interviene a cambiare le sorti della nave, rivelando allo spet-tatore il più antico dei sistemi di finzione cinematografica.

UNTITLED16 mm film tranferred to digital, colour - mute, loop, 2012

Untitled mostra la sequenza ipnotica del movimento, a tratti impacciato, di una figura olimpica, un tedoforo che qui rappresenta quella dicotomia tra la Natura e la Macchina, ma anche l’eterno ripetersi degli eventi. Un carillon mosso a mano, en plein air, sul cui sfondo si scorge una tenda che produce un effetto di sdoppiamento, dato dalla ripresa dell’oggetto in uno specchio.

THE SIBERIAN GIRL16 mm film, colour - mute, 1’, 2012

Il film A Siberian Girl nasce come assemblaggio di pezzi e volti di bambola, a ricordare quell’inquietudine della ragazza siberiana di fronte alla visione del cinematografo. La finzione della nar-razione viene continuamente svelata dalla presenza di agenti atmosferici, da elementi come l’aria e la luce, che restituiscono all’opera una duplice dimensione temporale: il tempo reale e il tempo della nar-razione filmica.

IT’S ABOUT LIGHT AND DEATH(TO JOSEPH PLATEAU)16mm film, colour - mute, 2’ 40’’, 2011Produced with the support of Rijksakademie van Beeldende Kunsten - Amsterdamand Fiorucci Art Trust - London

ZOOTROPIO is the name of one of the pre - cinema devices used in amusement parks and fairs to provoke wonder in the audience. Drawings representing animals were usually animated with the help of spinning devices. Suddenly, an inanimate object came to life generating surprise.Shot in a taxidermy workshop, the work investigates on the edge between life and death and the perception of objects as a remnant of something that once was a leaving being, but now it’s condemn to an eternal representation of life. Not far from what films and cinema have done since the beginning, repeating a dead photographic pose 24 times per second, giving the illusion of a perpetual, infinite movement that, from a magnified, intellectual perspective is nothing else than an optic danse macabre. The work aims also to reconsider the history of style and aesthetics, trying to connect to the artificiality of camp aesthetic and its legacy on contemporary art.

IT’S ABOUT LIGHT AND DEATH (TO JOSEPH PLATEAU)Installation view at VIR/ Via-Farini-In-Residence - Milano

Photocredits: Alessandro di Giampietro

IT’S ALL ABOUT LIGHT (TO JOSEPH PLATEAU) / 116mm film transferred to digital, colour - mute, 9’07’’, 2011Produced with the support of Fiorucci Art Trust - London

It’s about Light and Death.A volte esistono uomini disposti a rinunciare all’esercizio delle proprie funzioni percettive in favore di esperienze visionarie. Per fare questo si astraggono dal tessuto quotidiano così da restituire l’amplificazione ipnotica dei fenomeni del reale.Può succedere di inventare il fenachistoscopio e verificare l’estensione spaziale delle bolle di sapone, oppure di trovare, nella notte, “un fondo di rumore più morbido del silenzio”.La disfunzione dell’animo che ne consegue si potrebbe assimilare al distacco retinico a seguito di una prolungata esposizione dell’occhio alla luce solare.Condizione necessaria per avvicinare questo accadimento è forse la disponibilità a isolare, fino a estrarre, l’astrazione fluida insita nelle cose, così da pensare a una coesistenza formale su più livelli del tangibile.Una potenzialità implicita di fermare e muovere immagini che in parte ci sfuggono; un meccanismo che è complice dell’esistente e del resistente, trasfigura il comune uso del reale per diventare animazione, ologramma, 3D esplosivo, fino a partecipare a un concreto, ingannevole e luminescente Star Wars in Maciachini.Dopo l’ultima immagine a disposizione, ne arriveranno altre rigenerate da un occhio che non sembra inciso dal segno dell’uso.

Gianluca Concialdi e Nicoletta De Rosa

It’s about Light and Death is a project dedicated to Joseph Plateau (1801- 1883) who became blind, for us to see more.

IT’S ALL ABOUT LIGHT (TO JOSEPH PLATEAU) / 1Installation view at VIR/ Via-Farini-In-Residence - Milano

Photocredits: Alessandro di Giampietro

IT’S ALL ABOUT LIGHT (TO JOSEPH PLATEAU) / 2Super8 film transferred to digital, colour- mute, 2’25’’, 2011Produced with the support of Fiorucci Art Trust - London

“Di notte, nelle vie deserte, quei gruppetti di uomini accucciati al bagliore dei saldatori autogeni, e le voci che risuonano e poi subito si smorzano, hanno un’aria segreta come di gente che prepari cose che gli abitanti del giorno non dovranno mai sapere”.

Italo Calvino

IT’S ALL ABOUT LIGHT (TO JOSEPH PLATEAU) / 2, still from transferred Super8 film

LET’S FUUUUCK! I’LL FUCK ANYTHING THAT MOOOOVES!Super8 film, colour, field recorded sound, 3 channels video installation, 2011

1. ‘Untitled’ - loop2. ‘Dennis Hopper’ - loop3. ‘Let’s fuuuuck! I’ll fuck anything that mooooves!’- loop

Sound diffusion with speakers.

3 short looped pieces shot in a en plein air - amateur museum, ran by a ex-biker and pizza maker. A phantasy on American road movies, Arizona dreams and Italian folklore.

LET’S FUUUUCK! I’LL FUCK ANYTHING THAT MOOOOVES!Installation views at VOLCANO EXTRAVAGANZA-Stromboli

Photocredits: Alessandro di Giampietro, Chiara Fumai

TO KNOW A THING YOU MUST CALL IT BY ITS NAME16 mm film transferred to digital, 2 channels installation, dimensions variable, colour - mute, 2011Produced with the support of Pietro Torrigiani Malaspina and Maddalena Fossombroni

The work, shot in the interiors of Castello Malaspina (Italy), not far from Carrara’s marble quarries, depicts some engraved marble pieces found within the medieval castle itself. Close ups of the mentioned stones might be seen as submarine landscape, progressively disgregating till the state of shiny powder.

Installation view at Vistamare/Benedetta Spalletti - Pescara (new edition of the work for the group show A TEXT IS A THING, cu-rated by A. Rabottini and V. de Bellis)

Photocredits: Jacopo Menzani

Installation view at CASTELLO IN MOVIMENTO - Castello Malaspina di Fosdinovo

Photocredits: Dario Lasagni

UNTITLED(ALMOST LOST)Super8 film transferred on dvd, colour - mute, 49”, looped (shot at 18 and 24 FPS), 2010Realized with the support of the Rijksakademie van Beeldende Kunsten - Amsterdam

A short observation shot in a mosque in Cairo. Less than one Super8 film cartridge exposed. Edited while shot.The piece seems to be lost in time. The author unknown.A recreated found object, that includes a ‘ghost’ frame.

UNTITLED - (ALMOST LOST), stills from transferred Super8 film

NOTHING IS MORE MYSTERIOUS.A FACT THAT IS WELL EXPLAINED16 mm film transferred on dvd, colour - mute 11’ 45’’, 2010Produced with the support of Rijksakademie van Beeldende Kunsten – Amsterdam,Pianola Museum - Amsterdamand FilmmakerFest - Milano

Music composition for Pianola by Koen NuttersPerforated music roll realized by Heisigrollen - Leisnig - DE

The piece is the result of a personal reflection on the concept of ‘indoor life,’ arising from my stay in Holland and the study of still leven in painting.The first result of this new ‘private’ dimension of my work is a 16 mm film, shot in the hidden and discrete Pianola Museum in Amster-dam. Starting on the fascination for a mechanism that includes the ghost of artistic expression (pianolas are automatic pianos, operating with paper rolls on which a score is punched) the filmic exploration extended to the environment where these music instruments are located, though limited, in terms of framed space, by a pattern of self imposed direction rules.The camera, with only two long movements, envisioned the surfaces of objects and locations, stressing on pictorial values, on the way light shaped and mould the presence of things, leaving to the spectator the task to wonder about the nature and the identity of filmed space. The result can be considered a long unwinding of visual memories, a summary of art historical references (the Vermeerian atten-tion for the interiors, the depiction of details in Dutch 17th century still life, the role and use of light in paintings).

NOTHING IS MORE MYSTERIOUS. A FACT THAT IS WELL EXPLAINED, still from transferred film

THE PLAYER MAY NOT CHANGE HIS POSITIONVideo, Full HD, colour - sound, 17’, 2009Realized with the support of the Rijksakademie van Beeldende Kunsten - Amsterdam, FilmmakerFest - Milano and LunaEuropark - Milano

‘[...] if the shot hits the mark the gate opens.’Walter Benjamin, One - Way Street

The Fun Fair could be considered a wonderful trap for eyes and bodies. It’s only this, I guess, the raison d’être of its existence nowadays. The Fair, with all its attractions, lights, sounds, movements, it’s an anachronistic sanctuary, an enclave where time and space are allowed to expand or contract, mocking every reference. It’s the realm of rotation and vortex, blinking lights and fragments, of darkness, mirrors and flashes.The Fun Fair is a reflection of the light of cinema, its topology a “Montage of Attractions”, its magic made out of every kind of transi-tions, special effects, fades to black.This video is only a ride on a carousel. Or vice versa.

THE PLAYER MAY NOT CHANGE HIS POSITION, installation view at Rijksakademie Open Studio, Amsterdam, NL

CASA VERDIDocumentary, Minidv, colour - sound, 50’, 2008Produced by INVISIBILE FILM - Milano

Exploration and observation of a rest house for old musicians in Milan.A film- archive of the lives hidden in this monument in the centre of city, the attempt to reveal the nature of a building following the everyday life of the inhabitants. The documentary is also an experiment on film language, an analysis of one of the most classic forms and way of moving the camera, the travelling.

CASA VERDI, still from documentary

POLISTIRENEDocumentary, Minidiv, colour - sound, 12’, 2007Produced by: Scuola Civica di Cinema, Televisione e Nuovi Media – Milano and P.A.D. / PICCOLO ARTIGIANATO DIGITALE - Milano

Machines, raw materials, fire. The filmmaker captures the magic of the making of polystyrene mannequins. This doll-like figures, idealised human forms, models of perfection, are sculpted, polished, painted and made-up. Filmed from different angles, the putting together of these serial clones, a metaphor for Creation, offers an original slant on the origins of mankind.

60° Locarno Film Festival – catalogue

POLISTIRENE, installation view at Ca’ Pesaro, Venice, IT

PATTINI D’ARGENTODocumentary, Minidv - found footage, colour - sound, 37’ 2007, directed with Diego Marcon and Federico ChiariProduced by: P.A.D. / PICCOLO ARTIGIANATO DIGITALE – Milano, FILMMAKERFEST- Milano and Scuola Civica di Cinema, Televisione e Nuovi Media – Milano

[…]The result is a liminal “form of cinema” in which the visual and narrative matter is always contaminated by the many elements shown in the film. Pattini d’argento, which focuses on a group of young ice skaters (the Precision Skating Society - Milan’s official team), is a visual experimentation about movement. Though there are no interviews, the girls’ questioning looks are sometimes shown, like in a home movie, while they are having a rest or cleaning their skates. On the screen the skaters represent their incessant effort and the exhausting training hiding behind their light gliding, an almost hypnotic flowing that becomes an image. The girls are often shown through long shots; in the foreground there are no faces: only feet, skates and acrobatics. Exactly like the essence of the cinema, the skaters are above all “elements in motion” chasing each other and creating colours, lights and sounds: the elements shown on the screen are always connected with the medium and with the spectator’s perception.

Cristina Piccino – il manifesto

PATTINI D’ARGENTO, still from video

Anna FranceschiniPavia, IT 1979Lives and works in Amsterdam, Bruxelles and Milano

Education2004-2006 MA Television, Cinema and Multimedia Production, IULM University, Milan, IT2001-2003 BA Media Studies, IULM University, Milan, IT

Residencies2009-2010 Rijksakademie van Beeldende Kunsten, Amsterdam, NL 2011 Castello Malaspina / Residence for Visual Artists, Fosdinovo, IT 2011 Kunsthuis Syb, Beetsterzwaag - Friesland, NL 2011 VIR- Viafarini In Residence, Milano - IT2012-2013 ISCP, New York, USA

Fellowships, stipends2011 Nicoletta Fiorucci Art Trust Fellowship- Italy2010 KPN Fellowship - The Netherlands2008 GAI – Association for the Young Italian Artists Circuit / Ministero per i beni e le Attività Culturali – MOVIN'UP - IT2007 RES. SCHOLARSHIP 'Contemporary Italian Cinema: History and Critics', IULM University – Milan - IT

Awards2012 MACRO AMICI Prize - Roma - IT2012 Premio d’Arte Contemporanea Ermanno Casoli – Winner - Fabriano - IT2011 Ariane the Rothschild Prize – Mention of Honour2008 I Festival del Cine Italiano de Madrid- Sección Cortometrajes - Mención Especial2008 TFF / Torino Film Festival - Distribution Award A.V.A.N.T.I.

(Selected) solo and duo exhibitions2013 Solo show at VISTAMARE/ Benedetta Spalletti - Pescara - IT (forthcoming)2012 THE STUFFED SHIRT - Peep Hole - Milano - IT (upcoming)2012 Contemporary locus 2: Anna Franceschini, Steve Piccolo - curated by P. Tognon - Cannoniera di S. Giacomo - Bergamo - IT2012 HALATION – curated by C. Fitzpatrick – Objectif Exhibitions - Antwerp – BE2012 A SIBERIAN GIRL - curated by L. Barreca - EX-ELETTROFONICA- Roma - IT2012 SUBJECTIVE PROJECTIONS / ANNA FRANCESCHINI - Bielefelder Kunstverein – curated by A.Rabottini – Bielefeld - DE 2011 LET’S FUUUUCK! I’LL FUCK ANYTHING THAT MOOOOVES!, included in VOLCANO EXTRAVAGANZA, cu-rated by M. Farronato with R. Selvaggio - Stromboli, IT2011 TO KNOW A THING YOU MUST CALL IT BY ITS NAME - curated by A. Salvadori - Castello Malaspina - Fosdi-novo - IT 2011 THEA DJORDJATZE: QUITE SPEECH IN WIDE CIRCULATION /// SCREENING ROOM: ANNAFRANCESCHINI - curated by Wim Walpurt- Kiosk Gallery - Ghent - BE

(Selected) group exhibitions2012 THE FLYING CARPETS – curated by Philippe-Alain Michaud – Villa Medici – Roma – IT (forthcoming)2012 NOTTURNO – curated by P. Caravati - Unosolo Project Space - Milano - IT2012 CARTA BIANCA – curated by C. Guida - Museo d’arte contemporanea Villa Croce – Genova - IT2011-12 THE ELEVENTH HOUR – curated by M. Novotny – Futura – Prague - CZ2011-12 A TEXT IS A THING - curated by A. Rabottini and V. de Bellis - VISTAMARE - Pescara - IT2011 I NUMERI PRIMI – curated by A. Bruciati – ArtVerona – Verona – IT2011 ARIANE THE ROTHSCHILD PRIZE – curated by L. Barreca and M. Smarrelli - Palazzo Reale - Milano – IT - (c)2010 RIJKSAKADEMIE OPEN STUDIO- Amsterdam –NL (c) 2010 VIDEOREPORT_ITALIA 2008-09 curated by Andrea Bruciati – GC.AC -Monfalcone – IT (c)2009 DIETRO OCCHIALI FUME’ curated by Roberta Lombardi and Paola Monasterolo - Torino - IT2009 RIJKSAKADEMIE OPEN STUDIO- Amsterdam - NL (c)2009 DON’T LOOK NOW- NON VOLTARTI ADESSO curated by Milovan Farronato – Ca’ Pesaro -Venezia - IT (c)

(Selected) film/video screenings2012 MILANO FILM FESTIVAL - program curated by D. Giannella - Milano - IT (upcoming)2012 ROOM 19 - THE DOMMERING COLLECTION AT THE GEMEENTEMUSEUM DEN HAAG -Anna Franceschini - The player may not change his position - Gemeentemuseum - The Hague - NL2012 WIJ ZULLEN DOORGAN, DE KUNST VAN HET OUDER WORDEN – screening curated by E. Vossen

2010 FILMMAKER DOC 15 – Milano – IT2010 IDFA // DOCS FOR SALE – Amsterdam – NL2010 AKV – ST. JOOST – screening curated by Camiel van Winkel - Breda - NL2010 CAIRO VIDEO FESTIVAL – curated by Medrar for Contemporary Art - Goethe Institut ///Townhouse -Cairo – EG2010 SHE DEVIL 4 - invited by Simona Brunetti – Studio Miscetti -Roma - IT2009 TRUTH OR CONSEQUENCES FILM FESTIVAL - T or C - New Mexico - USA2009 ANNECY CINEMA ITALIEN –Annecy - FR (c)2009 FILMMAKER DOC 14 – Milano- IT (c)2009 EUGANEA FILM FESTIVAL – Colli Euganei – IT (c)2009 IL CINEMA ITALIANO VISTO DA MILANO - Milano - IT (c)2009 WILD SIDE- ESTERNI – Milano - IT (c)2009 SGUARDI ALTROVE– Milano - IT (c)2008 60° LOCARNO FILM FESTIVAL – Locarno - CH (c)2008 FESTIVAL DEL CINE ITALIANO – Madrid - SP (c)2008 TFF/TORINO FILM FESTIVAL – Torino - IT (c)2008 7th EUROPEAN FILM MEETINGS – Vannes - FR2008 WORLD ONE MINUTES EXHIBITIONS – Beijing – PRC // Brussels – BE // Lisboa - PT (c)2007 DAYS OF ITALIAN CINEMA IN ST. PETERSBURG – St.-Peterburg - RU2007 BELLARIA FILM FESTIVAL – Bellaria - IT (c)2007 LUFF – Lausanne - CH (c)2007 CINEMI – Milano - IT2007 FILMMAKERDOC 12/ Paesaggi Umani – Milano - IT (c)2007 PANORAMICA CANNES, LOCARNO, VENEZIA – Milano - IT (c)2006 POTENZA INTERNATIONAL FILM FESTIVAL – Potenza - IT (c)2006 VIDEOMINUTO XIV - Museo d’Arte Contemporanea Pecci – Prato - IT ©2006 BACKSTAGE FILM FESTIVAL – Cesena -IT2004 INFINITY FESTIVAL – Alba - IT(c) denotes that a catalogue or a publication was published in conjunction with the exhibition or the festival.

(Selected) talks and presentations2011 ANNA FRANCESCHINI - Workshop with MA students – Università IULM – Milano - IT2010 THE RIJKSAKADEMIE IN CAIRO – Townhouse – Cairo - EG2008 RING! VII FESTIVAL DELLA CRITICA CINEMATOGRAFICA – Alessandria, IT

(Selected) articles, reviews, catalogues2012 Daniela Voso, ANNA FRANCESCHINI. DI LUOGHI E DI COSE/ ON PLACES AND THINGS, Arte e Critica, n. 70 2012 Ilaria Gianni, POSSIBILITIES AND FANTASIES OF THE FORGOTTEN AND FETISH OBJECT. IN CONVERSA-TION WITH ANNA FRANCESCHINI, cura magazine, Issue09, Spring/Summer 2010 Ilaria Gianni, ANNA FRANCESCHINI, Videoreport_Italia 2008_09, catalogue2010 Milovan Farronato, SAY HELLO, WAVE GOODBYE, FlashArt Italia n. 282, April2009 Sabien Teulings, RIJKSAKADEMIEOPEN 2009: ANNA FRANCESCHINI, Tubelight, November2009 Alessandra Mallamo, METAMORFOSI IN “POLISTIRENE”, Cineforum n. 489, November2009 Francesca di Nardo, RESIDENZE PER ARTISTI, FlashArt Italia, n. 272, August-September2009 Giancarlo Grossini, ANNA FRANCESCHINI RACCONTA CASA VERDI, Corriere della Sera, February2008 Luca Malavasi, ITALIANA.DOC, Cineforum N. 481, January2008 Daniela Persico, MILANO, LA FUCINA DEL FILM DOCUMENTARIO, la Repubblica, August2007 Daniela Persico, LA SFIDA DI LOCARNO, MEDIANDO TRA RICERCA E PIAZZA, Cineforum n. 468, October2007 DOCUMENTI E DOCUMENTARI, Internazionale, June2007 Mario Serenellini, LA CARICA DEI MILANESI PROTAGONISTI A LOCARNO, la Repubblica, July2007 Luca Mosso, LOCARNO: SFIDA TRA I NUOVI TALENTI, la Repubblica, July2007 Luca Mosso, LOCARNO:MASBEDO E FRANCESCHINI AL FESTIVAL, La Repubblica, July2007 Cristina Piccino, FILMMAKER, LABORATORIO PER UN CINEMA DI FRONTIERA, Il Manifesto, November

Publications2012 ‘New Italian Art. L’arte contemporanea delle ultime generazioni’, Ludovico Pratesi, CastelvecchiEditore, Roma2011 ‘Rolling Stone. Dolce Vita in Stromboli’, curated by Milovan Farronato, Ed. Salerno, Roma

Collections2012 MACRO Museum - Roma - IT2011 Musée National d’Art Moderne/ Centre Georges Pompidou, Paris, FR2010 Dommering Collection, Amsterdam, NL2009 Nicoletta Fiorucci Collection, Rome, IT

Workshops2007 CINEMA AND CONTEMPORARY VISUAL ARTS/2, V Magis Gradisca International Film Studies SpringSchool, promoted by Università degli Studi di Udine and Université Paris III - Sorbonne Nouvelle2006 BIOGRAPHY AND AUTOBIOGRAPHY IN DOCUMENTARY, VII Film Summer School, coordinated byProf. Francesco Casetti, organized by Università della Svizzera Italiana and Locarno International FilmFestival2006 HELL SEEN CLOSELY, film directing workshop with Ulrich Seidl, curated by Associazione Filmmaker incollaboration with Austrian Foreign Office in Milan2005 THE EFFORT OF GOOD AND EVIL, film directing workshop with Jean-Pierre and Luc Dardenne,curated by Associazione Filmmaker, in collaboration with Belgian Consulate in Milan

Contacts

Anna Franceschinianna.franceschini@gmail.comww.annafranceschini.net+31 614 616041+39 339 4872775