Attilia Fattori Franchini is an independent curator and writer based in Vienna. Working on the creation of experimental contexts for the production and display of contemporary practices, her work deals with technology and power structures, moving image and the cinematic, late-capitalism, and the creation of alternative forms of subjectivity and representation. She is the artistic co-director of KUNSTVEREIN GARTENHAUS in Vienna and the curator of BMW Open Work by Frieze for which she has realised solo presentations by Nikita Gale (2022), Madeline Hollander (2021), Camille Blatrix (2019), Sam Lewitt (2018), Olivia Erlanger (2017); Curva Blu, an artists’ residency on the island of Favignana, Sicily; and the Emergent section of miart Milan.
Fattori Franchini contributes essays and reviews to international catalogs and publications such as Mousse, CURA., Flash Art International, Camera Austria, Spike Magazine and has authored catalog essays for monographs on the work of Jakob Lena Knebl & Ashley Hans Scheirl, Hervé Guibert, Diego Marcon, Tatjana Dannenberg, Rosa Rendl, Anaïs Horn, Superflex. She is currently working as a researcher at the Institut für Kunst und Kulturwissenschaften at the Academy for Fine Arts, Vienna.
Selected past projects include: Every lie has an audience, Marséll Milano, (2022); Our Vampires, Sperling Munich (2021); Behran Karimi, SPIT, Braunsfelder Collection (2021); Hervé Guibert, …of lovers, time, and death, FELIX GAUDLITZ (show) and saxpublishers (publication), Vienna (2020); The Obvious, Michael’s Santa Monica, (2020); Bits of girl left out to dry, Bits of boy left out to die, Marianna Simnett, Schinkel Pavillon, (2019); Falling Awake, Vienna Contemporary (2019); Could you visit me in dreams? curated_by 2018, Vienna (2018); Red Lake, Point Centre for Contemporary Art, Nicosia (2018); and ARS17+, Kiasma, Museum, Helsinki (2017); Europa and the Bull, LambdaLambdaLambda, Pristina, Kosovo (2016); Bold Tendencies, London (2015); and HAND, Barbican Centre, London (2013).