From the outside, it is not clear what the work Minibar (2000-2001) is about or what it is for. The three entrance doors are also hardly noticeable. Behind the tallest door is a staircase with an important hint: written on the first step are the words ‘women only.’ Despite the fact that this clue (or warning) is not present at the other entrances, it soon becomes apparent that here too only women are welcome. Although there is male presence in Minibar, the so-called ‘behager’ (pleaser) who is part of the work and is hiding behind one of the doors.

When women choose the tallest door and go up the stairs, they enter a lounge area. Here they can watch the pleaser through a peephole. The second option also invites them to voyeurism, and they can observe the pleaser from the ground floor this time. When women enter Minibar through the third door, they choose to make contact with the pleaser. In addition to a (therapeutic) conversation and a drink, he offers to massage their feet. Jan Hoet, the curator of Sonsbeek 9, took on the task of professional pleaser for one day in a silver kimono. On June 26, he massaged women's feet in Framis' Minibar, on condition that they are clean. At first, it might be awkward for most women, but given the long queue outside the work, it is mainly relaxing for many.[1]   

The social aspect distinguishes Alicia Framis’ project from other works of art in the shopping center. Without human contact, Minibar loses its meaning because it is not intended as an aesthetic object but as an instrument. In addition, unlike other works, Minibar is intended for a specific group. On the one hand, the work counteracts the loneliness of women and on the other hand, it offers the opportunity to slow down. Framis also wants to question the role of women as pleasers and caregivers by reversing the roles and giving women control.[2] This makes her work feminist. Coincidence also seems to be an important element because the encounters in Minibar are in most cases unplanned. During Sonsbeek 9, however, the work is presented in public space for the first time. Before that, Minibar was in museums and was visited by a different audience ‘by appointment.’ Minibar therefore not only changes the experience of the shopping center, thanks to the new location the work in turn acquires a new layer of meaning.

[1] D. Korpershoek, ‘Hoet als vrouwenbehager in zilvergrijze kimono,’ in: Trouw (28 juni 2001).
[2] Exh. cat. Arnhem (Sonsbeek 9: LocusFocus), 2001, p. 106.