Frida Giulia Franceschini studied contemporary dance in the Netherlands, Austria, and Belgium. With a background in visual arts, ballet and acrobatics, Franceschini references a range of culturally entrenched formats of theatricality, from the peep show to the magic trick. Drawing from her own experience, she does not shy away from the complex dynamics ignited by the female body at work. Her performative practice contributes to the essential conversation around labor, sexual desire, and the body.
Franceschini presented her first choreographic work Baby in 2015. Developed alongside performer (and frequent collaborator) Viktoria Andersson, Baby exhibited Franceschini’s expansive and experimental approach to the choreographic medium. The work was based not only on dance, but various realms of performative exercises, including role play, night walks, and karaoke.
While in residence at Callie’s in 2019, Franceschini conceptualized and developed the choreography for her performance work Tricks for Gold (T4$), which premiered at Sophiensæle Berlin in 2020 as part of Tanztage Berlin. Developed in collaboration with performer-costume designer Lea Kieffer and sound designer Ksenija Ladić, Tricks for Gold (T4$) is the story of a heroine who, using magic, tries to transform herself into money. Provocative and exuberant, Tricks for Gold (T4$) plays with tropes of women’s performative labor—from striptease to the magician’s assistant —to confront the fraught relationship between desire, work, and late capitalism through the lens of contemporary feminism.
In 2020, Franceschini realized the work HOT MOMS, which considers pregnancy as a potential moment of liberation: can pregnancy offer respite from the sexualized gaze and self-objectification? Performing the work via a webcam while six months pregnant, Franceschini lays bare her curiosity towards her own sociopolitical place in the world, exploring the complicated relationship between female identity, biology, and value.