Alessandra Franetovich Read Bio Collapse
Alessandra Franetovich is an art historian and independent curator who lives between Germany and Italy. She is currently a PhD candidate in Art History at University of Florence. Her dissertation research addresses the concept of the archive as a device to artistic self-institutionalisation, and investigates the role of archival practices in the construction of Russian contemporary art, through the case study of the Archive of Moscow Conceptualism owned by the artist Vadim Zakharov. She has led lectures, seminars, and conferences on her research in several European countries. As a curatorial assistant, she works with museums, art institutions, and galleries in Italy. As an independent curator, she has curated exhibitions and collaborated with art galleries, non-profit spaces, and festivals.
# 113
Today, people tend to think about science as a way of looking at things, of experimenting with materials, for trying to understand outcomes or to develop ways of seeing that allow us to interpret the world in different ways. I see lots of similarities between that and art, and historically these things have at times been indistinguishable from one another. What troubles me about the reality of art and science in the (kind of) postwar era is that science has been intimately and inseparably connected to institutions of power, whether those are corporations, militaries, or industries of science. I see and am wary of what science gets out of the collaboration between art and science. I’m not so sure what art gets out of the deal.
# 99
As absurd as it sounds, cosmism was part of a cigarette company’s advertisement campaign, and Yuri Leiderman’s work flew into space together with Andorra’s painting, which was hand-applied directly to the surface of the missile, as well as a text by the Kyrgyz writer Chinghiz Aitmatov. Leiderman’s photographs depicting the urn graves of the Donskoy Cemetery and Crematorium in Moscow were printed on a plastic film applied to the upper part of the proton rocket. After exiting the earth’s exosphere, the rocket burned up. This incineration aimed to represent the established connection between the ashes of the dead and the cosmos, as a prefiguration to their forthcoming resurrection. Instead of approaching cosmism only in a metaphorical way, Leiderman realized a concrete cosmist action motivated by a love for humanity.
