[...] in my naivete, i actually believed that i could postpone choosing a profession until my demise.
daniela franco has a penchant for dilettante polyvalence. in her projects she uses video, literature, music and on-line platforms as medium. her recent work is based, formally, in the orchestration of projects in collaboration with writers and musicians. and conceptually, in the creation of fictions through coincidences and the slight alteration of daily life.
she lives and works between mexico and paris. her creation and research centre in narrative conceptual art and the intersections between visual art, music, and literature. she obtained a fulbright scholarship for an mfa at the san francisco art institute. ever since, her projects have been funded and awarded by the rockefeller foundation, the fundación jumex, and the école nationale supérieure des beaux-arts, and the mexican ministry of culture, amongst others. [click here to continue reading][click here to hide text]
archives, collections, topographies, anecdotes, found objects and images are recurrent in daniela’s research and collaboration with other artists. in j'aime mon quartier, je ramasse (a project made in collaboration with latin american poets and writers) objects found by the artist are given new life and stories by others. in face b (an on-line archive of music related images) critics, musicians and other artists contribute to the archive following a series of restrictions imposed by her.
self-imposed constraints in the style of the french literary movement oulipo (also collaborators in her work) are also recurrent in her projects. in her artist book sandys at waikiki, she conducts a fictional research in collaboration with other writers from the oulipo, as well as enrique vila-matas, alberto olmos, and juan villoro.
in daniela franco’s work, formal execution follows concept and fiction. for the development and exhibition of her work an on-line public archive, an editorial project or any internet platform are as valuable (or even more) than a museum or gallery.
she writes often for magazines such as the believer, letras libres (in which she has conversations with artists and poets about the current state of the art world) and la tempestad (where she reflects on new avenues for contemporary art critique and teaching). she has translated miranda july, lorrie moore and kenneth goldsmith into spanish. all of these activities are seen as part of her artistic endeavours. she makes no difference between the construction and editing of a translated text and a video or between the narrative approach and execution of a short story and an exhibition project.
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