andrea flamini

"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

"...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

"...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. "Paradossi della Visione". Arte e Critica. Giugno-Agosto 2008: 97

"...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

"...Un'evoluzione della narrativa, questa, che si sta sviluppando sul versante prettamente videofilmico (basti pensare al progetto Soft Cinema di Lev Manovich, al “computational cinema” di Andrea Flamini o alla produzione videoartistica legata a un'interattività sempre più articolata, come quella di Ennio Bertrand) e che si intreccia, oltre che alla comunicazione tipica di Internet, ai videogame e ai mondi virtuali come Second Life. Il post-cinema è pronto. E noi?"
Ponzini, Monica. Video Art, “Korsakow, Il Post Cinema E' Arrivato”. Digimag. 2005

"...Not only we have the biological and physiological significance of the presence, but there is also the sociological sense. The latter as a concentrated expression of identity. Virtual explorations of identity become an important part of the core art. For example, Seattle-based artist, Flamini, has created a screen saver "Kafka" (Kafka, 2003), that shows pictures of two facial fading. This two faces gradually blend in a random starting point, forming a never-ending so-called 'identity change.'..." [translated from the original]
Ming-Fen Huang. Professor, Xiamen University, China. "Virtual Sex, Art and Philosophy". Aesthetics. March 21, 2006

"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. Entitled Macbeth-Morse (Melodrama No. 10), the piece is among a series of "melodramas" by Flamini, works that merge sound, drama, tragedy and intrigue via technically complex, streamlined works that permeate the environment on a conceptual and visceral level. 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. Didactic sensibilities are balanced with romance, drama, and hints of playful irreverence."
McGuire, Oz. Curator. Conditions of Sound. February, 2005

"...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

"Flamini quickly transports the viewer into a dizzying spin [...] Neither work is intimidating or personally confrontational, but their simplicity, fractured pace and elusive objective hold the viewer long enough to absorb the unsettling emotional impact of the work."
Trafton, Robin. "Impromptus exhibit packs and emotional wallop." The Kansas City Star. December 9, 2004, Preview 34

" ...A beautiful example of this kind of interactive film is [Andrea Flamini's] Waterdream, which is divided into several sequential episodes. The viewer interacts by choosing hidden paths embedded in the film..."
Barry, Nora. (Shaw, Jeffrey, Peter Weibel editors) Future Cinema, the cinematic imagery after film. ZKM, Karlsruhe, Germany: MIT Press 2003

"...the stark visual imagery and dark theatrics may seem nearly insurmountable, but it doesn't take long to notice a line of cohesion. [...] Flamini's masterful technique transfers the anxiety from the screen to the audience."
Leftridge, Brandon. "MasterMind Award, Andrea Flamini". The Pitch. March 26, 2006

"...looping footage of dreamworld scenery over a white-noise soundtrack that would make David Lynch cream his surrealist jeans."
Harper, Jason. "Videodrome". The Pitch. November 4, 2004: 26