Andrea Flamini
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Born: Rome, Italy
Lives: USA
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Selected Screenings
- IPTV cable network in France (freebox 129) and Germany (Unitymedia/Kabel BW) – "Strawberry Fields" video art program – 2009
- Review Studios, Kansas City, MO, USA – 2009
- Nuovo Cinema Aquila, Rome, Italy. Italian Experimental Cinema – 2008
- Studio Matteo Boetti, Rome, Italy – 2008
- Hong Kong Film Archive, Hong Kong, China – 2007
- Cinemateca Nacional, Caracas, Venezuela – 2006
- Theater im Depot in Stuttgart , Germany – 2006
- Filmhaus, Stuttgart, Germany – 2006
- Centro Cultural Telemar, Rio de Janeiro, Brazil – 2006
- Aqua Art Fair Broadcast, Art Basel Miami Beach, Miami Beach, FL, USA – 2005
- Cinema L' Entrepot, Paris, France. Rencontres Internationales Paris/Berlin – 2005
- Centre de Cultura Contemporania, Barcelona, Spain – 2005
- Festspielhaus Hellerau, Dresden, Germany – 2004
- Sinakarinwirot Gallery, Bangkok, Thailand – 2004
- ICC, Tokyo, Japan. "FUTURE CINEMA" – 2004
- Museum of Contemporary Art Kiasma, Helsinki, Finland. – 2003
- Knitting Factory, New York, USA – 2003
- Museo Fundacion Cristobal Gabarron, Valladolid, Spain – 2003
- Annenberg Center USC, Los Angeles, USA – 2003
- Museum of Contemporary Art, Zagreb, Croatia – 2003
- Nelson-Atkins Museum of Art, Kansas City, USA – 2003
- Istanbul Contemporary Art Museum, Istanbul, Turkey – 2003
- "Manifesta 4", Frankfurt, Germany
- ZKM Museum, Karlsruhe, Germany. "FUTURE CINEMA, The Cinematic Imaginary after Film" – 2002
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Available at: www.flamini.com
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- Holly Willis. New Digital Cinema: Reinventing the Moving Image. Short Cuts, Film Studies series. Wallflower Press 2006
- Piero Pala. "Andrea Flamini: l’immagine come un sistema e un’indagine, non una risoluzione”. Italian Experimental Cinema catalog. Complus 2008
- Giulia Ferracci. "Paradossi della Visione". Arte e Critica. Giugno-Agosto 2008: 97
- Ming-Fen Huang, Professor, Xiamen University, China. “Fuzhou”. Humanities and Social Sciences Forum. Issue No. 200503. March 2006: 52-56
- Ponzini, Monica. Video Art, “Korsakow, Il Post Cinema E' Arrivato”. Digimag. 2005
- Anderson, Steve. "Select and Combine: The Rise of Database Narratives". RES MAGAZINE. January/February 2004: 52-53
- Shaw, Jeffrey, Peter Weibel. Future Cinema, The Cinematic Imaginary After Film. ZKM, Karlsruhe, Germany: MIT Press 2003
- Barreto, Ricardo, Paula Perissinotto. Novas Midias / New Media. Sao Paulo, Brazil: Primeira edicao, 2003
- Leftridge, Brandon. “MasterMind”. The Pitch. March 30, 2006: 2
- Ishmael, Amelia. "Flamini at Beth Allison", REVIEW Magazine, March 2005: 48.
- Kupsch, Bochmann, et. al. CYNETart_04areale. Trans-Media-Akademie Hellerau, Dresden, Germany, 2004
- Barreto, Ricardo, Paula Perissinotto. FILE. Sao Paulo, Brazil: Primeira edicao, 2004
- Trafton, Robin. “’Impromptus’ exhibit packs and emotional wallop.” The Kansas City Star. December 9, 2004, Preview 34
- Watson, April. “Temporal Resuscitations, from the Inside”. REVIEW Magazine. December 2004: 50-51
- Bembnister, Theresa. “Andrea Flamini: Impromptus”. The Kansas City Star. November 4, 2004, PREVIEW 23
- Harper, Jason. “VIDEODROME”. The Pitch. November 4, 2004: 26
- Thorson, Alice. “Aura of Nostalgia”. The Kansas City Star. November 11, 2004
- Cinemania[c] 2003. CD-ROM. Pula, Croatia: mmc Luka / HDLU Istre, 2003
- Cinemania[c] 2002. CD-ROM. Pula, Croatia: mmc Luka / HDLU Istre, 2002
- L., Karen. “Movado”. New Vision magazine (Asia Pacific). January 1999: 58-60
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"...Vera rivelazione della rassegna video è Andrea Flamini che con i Notebooks sottrae le immagini al fluire del tempo per collocarle in una dimensione intrappolata tra la visione fisica e mentale."
Giulia Ferracci. Review of "Paradossi della Visione" at Studio Matteo Boetti. Arte e Critica. Giugno-Agosto 2008: 97
"The image as a system and an inquiry, not a resolution, is the premise of Flamini’s most recent cinematographic and photographic research. The visual language becomes a minimal syntax based on harmonic nuances and dissonances. The visualization focuses on the limits of an image and its narrative space, on an idealization of an image-- of an evocative space, rather than a representation of the ideal image. In Letter from Cézanne the artist searches for the smallest units of language... In the Blind Files series Flamini tests the limits of the image, searching for the point of tension where the image breaks, and where the blindness starts, creating a field for the viewer to anchors herself... "
Piero Pala. "The Return to Congnitivism. Andrea Flamini: The image as a system and an inquiry, not a resolution." Italian Experimental Cinema. Complus 2008
"With elegant sophistication and underlying drama, Andrea Flamini taps into the world of short-wave radio transmission with a Morse code translation of passages from Shakespeare's Macbeth. The work is a hybrid, addressing classical technology and prose jettisoned into a suggestive contemporary context of spatial communication, condensed language, distress and romance. The discreet presentation [...] belies the complex technical and poetic nuance Flamini achieves in subtle ways that reveal themselves upon multiple experiences with his works. Communication, language, distress, poetics and the compression and measurement of time are among the various themes addressed in this work."
McGuire, Oz. Curator. Conditions of Sound. February, 2005
"...the artist has more recently become known for an array of projects within the realm of database or computational cinema, in which he creates the possibility for generative narratives based on random sequences of sounds and images..."
Holly Willis. New Digital Cinema: Reinventing the Moving Image. Short Cuts, Film Studies series. Wallflower Press 2006
"...Flamini has created an impressive body of work in recent years, ranging from multi-channel and site-specific installations to Net artworks easily downloaded by modem. The brilliance of Flamini's work is its ability to evoke a mood or a state of consciousness within which narrative elements seem to gain coherence while resisting conventional narrative logics of cause and effect."
Anderson, Steve. "Select and Combine: The Rise of Database Narratives". RES Magazine. January/February 2004: 52-53
"...Flamini's dislocations are intriguingly multifaceted. At the more obvious level, he invites an experience that conjoins the Boley's present physical reality and its past mediated representation/reinvention. We are neither here or there, but unquestionably conscious of both."
Watson, April. "Temporal Resuscitations, from the Inside". REVIEW Magazine. December 2004: 50-51
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