Alexandre Frangioni

Exodus Series


Frangioni’s attitude to knotty ideas that can be difficult to conceptualize can be effectively summarized in a phrase: he casts complex ideas in efficaciously simple visual nutshell.

                               Christian Viveros-Fauné, Art Critic, Brooklyn 2021



Alexandre Frangioni builds connections between cultural developments, historical values, and time, aligned with memory acts.

The Exodus series depicts monetary values through their meanings of accumulation and transformation, revealing the impacts caused by society over time. Searching always for new materials, Frangioni utilizes ABS 3D printed symbols, which are direct and easy to identify, distinctively in this series.

Across the influence of Latin American art, Frangioni discusses social, cultural, political, and financial principles and how they become related as time goes by. For instance, with the partition of time, even though time continues uninterrupted.

The use of 3D-printed symbols in the Exodus series, such as piggy banks and charging bulls, proposes new ways of perception regarding financial stability and the possible risks caused by the capitalist culture. 

These proposals with 3D-printed symbols holding real currency provide direct meaning and character of their own, permitting the viewer to observe a three-dimensional aesthetic new form of art.

The importance of his artworks goes beyond a simple proposal of three-dimensional objects. The artist’s skills challenge the observer to detect a concrete narrative as they seem to compose an impossible track that continuously instigates the spectator. 

The challenge of translating his ideas into pieces of art led the artist to extensive research of new materials, the case of the Exodus, Safe, QR Code, Emergency, and Made in China series.

His conceptual explorations guide art enthusiasts and collectors to a vivid past or present society through attractive pieces with a unique artistic language, admirable in a self-taught artist, as wonderfully stated by Christian Viveros-Fauné in the book “One Art Story” published in 2021.

Frangioni was born in 1967 in São Paulo, Brazil, where he currently lives and works. He graduated in Chemical Engineering in 1989 and began his process as a self-taught artist in 2005. Later he deepened his studies under the guidance of the artist Joao Carlos de Souza.

Since 2016, Frangioni takes part in international art fairs in USA, Brazil, Argentina, and Peru. His conceptual practice showed in museums around Brazil, such as Museu de Arte Contemporânea de Ribeirao Preto (MARP), Museu de Arte de Goiania (MAG), Museu de Arte Contemporânea de Mato Grosso (MARCO) and Museu de Arte Contemporânea de Blumenau (MAB). Others include Museu Luiz Sacilotto em Santo Andre (Casa do Olhar), Museu de Arte Contemporânea de Jatai (MAC Jatai), Pinacoteca Benedito Calixto (Santos) & Home of Alfredo Andersen.

Among art fairs and collections: Palm Beach Modern & Contemporary 2022, SP Arte 365/Viewing Room 2021, Pinta Miami Live 2020, Art Wynwood Miami 2020, ART New York 2019, as well as other shows, like “Prelocaçao” and “o desejo do outro”, both in São Paulo. His work belongs to private and public collections, such as AAL – Arte Al Limite, Museu de Arte Contemporânea de Campo Grande, and Sala de Jantar at Renata Paula.