• singular-insular, 2013
  • singular-insular, 2013
  • dissonance, 2009
  • becoming blind, 2009
  • becoming blind, 2009
  • impromptu #1, 2003
  • interior with bird, 2010
  • interior with gun, 2010
  • macbeth morse, 2005


Andrea Flamini is an Italian-born, U.S.-based designer and artist whose output spans a broad range of media including interface design, photography, video, and sound installations. His practice explores the intricate relations between film, sound, and behavioral data.

His work has been shown internationally in such venues as the Hong Kong Film Archive; Athens Institute for Contemporary Art; TotalKunst Gallery in Edinburgh, UK; MASS MoCA, MA-USA; Kunsten Museum Of Modern Art in Aalborg, Denmark; Museo Fundacion Cristobal Gabarron, Valladolid, Spain; Istanbul Contemporary Art Museum; the Nelson-Atkins Museum of Art, Kansas City, USA; Studio Matteo Boetti in Rome; ICC in Tokyo; Manifesta in Frankfurt; Rencontres Internationales Paris/Berlin Cinema L’ Entrepot in Paris; the Museum of Contemporary Art Kiasma in Helsinki; ZKM Museum in Karlsruhe, Germany; and the Knitting Factory in New York among others.

His work on interfaces, computational cinema, and data-based narratives has been published by the Labyrinth Research Initiative on Interactive Narrative at the USC Annenberg Center for Communication, and has been reviewed in several publications such as Arte e Critica; Digimag; RES magazine; 'Future Cinema, the cinematic imagery after film' - MIT Press 2003; 'New Digital Cinema: Reinventing the Moving Image' - Short Cuts, Film Studies series, by Holly Willis for Wallflower Press; 'Reescrituras fílmicas: nuevos territorios de la adaptación' by José Antonio Pérez Bowie for Universidad de Salamanca 2012; and 'Expanding Practices in Audiovisual Narrative' by Chris Hales for Cambridge Scholars Publishing 2014.

Selected shows & screenings

  • 2015
    - Arbitrary Data / Bridge #4 - Crater-Lab, Barcelona, Spain.   CAT / SCR
    - Closet Music - Music for imaginary performance, Proud Archivist Gallery, London. Janet Oates composer/curator.
    - FUTURE PERFECT, Rialto, Rome. Piero Pala + Sarra Brill curators.

  • 2013
    - Room 100 (NYPL) – MoMA Studio: Sound in Space SoundMap. Museum of Modern Art New York, curated by Spencer Kiser.
    - Blue Sky Prevailing – The SoundArt Show, curated by Claire Kearns (www.bcbradio.co.uk - radio broadcast - UK)
    - Macbeth Morse annotations. Closet Music - Music for imaginary performance, London, UK. Publishing project, curated by Janet Oates.

  • 2012
    - "Art's Birthday" – KUNSTRADIO (broadcast.)
    - Residents Group Show – The Studios Inc., Kansas City, MO, USA.

    - "I AM NOT A POET" – TotalKunst Gallery, Edinburgh, UK. Curated by David Berridge and Mirja Koponen.
    - "Resound" – The Old Grist Mill, Penryn, UK. Curated by Patrick Simons.
    - Residents Group Show – The Studios Inc., Kansas City, MO, USA.
    - "The Way Things Work" – Athens Institute for Contemporary Art, Athens, GA, USA. Curated by Didi Dunphy.  CAT
    - "The Dining Room Project" – Paragraph Gallery, Kansas City, MO, USA. Curated by Kate Hackman and Marcus Cain.  CAT
    - "An Exchange with Sol LeWitt" – Cabinet / MASS MoCA, NY and MA, USA. Curated by Regine Basha.

  • 2010
    - "FIT" – Review Studios, Kansas City, MO, USA.
    - "SoundGate" – Listening post - Kunsten Museum Of Modern Art, Aalborg, Denmark. Curated by Lars Lundehaven Hansen.

  • 2009
    - "Paradossi della Visione", Cinema Azzurro, Ancona, Italy. Curated by Piero Pala.  CAT / SCR
    - "Blind Files", Review Studios, Kansas City, MO, USA.   SOL
    - "The Edge of Things", IPTV cable network in France (freebox 129) and Germany (Unitymedia/Kabel BW)(broadcast.)   SCR

  • 2008
    - Andrea Flamini, a retrospective. Italian Experimental Cinema, Piero Pala, curator. Nuovo Cinema Aquila, Rome, Italy.   CAT / SCR
    - Review Corporate Collection, Review Studios, Kansas City, MO, USA
    - "Letter from Cezanne", Kathy Dowell Gallery, Kansas City, MO, USA.   SOL
    - "Here Come The Rolling Bones. Paradossi della Visione: Tra Etica e Tecniche", Piero Pala e Benedetta di Loreto curators.
        Studio Matteo Boetti, Rome, Italy
    - "locate | navigate" Kate Hackman, curator. La Esquina, Kansas City, MO, USA

  • 2007
    - "Camera Obscura", Hong Kong Film Archive, Hong Kong, China. Ip Yuk-Yiu, curator.  CAT / SCR
    - "The Clouded Eye" Society for Contemporary Photography, Kansas City, USA (curator, series)

  • 2006
    - PULSAR, Cinemateca Nacional, Caracas, Venezuela
    - "The Clouded Eye" Society for Contemporary Photography, Kansas City, USA (curator, series)
    - "shortmovieaboutnothing", Ongoing Festival, Theater im Depot in Stuttgart, Germany
    - "FILE RIO", Centro Cultural Telemar, Rio de Janeiro, Brazil
    - "Mondo Cannibale", 19th Stuttgart Filmwinter, Festival for Expanded Media. Filmhaus, Stuttgart, Germany.   CAT / SCR

  • 2005
    - Aqua Art Fair Miami Beach, Miami Beach, FL, USA
    - Rencontres Internationales Paris/Berlin, Cinema L' Entrepot, Paris, France.   CAT / SCR
    - "FILE 2005", Galeria De Arte Do Sesi, San Paulo, Brazil.   CAT
    - "L' Alternativa", Centre de Cultura Contemporania, Barcelona, Spain
    - "Melodrama no. 12", Gallery 210, University of Missouri, St. Louis, MO, USA
    - "Conditions of Sound", Boley Building, Kansas City, MO, USA

  • 2004
    - "CYNETart_04", Festspielhaus Hellerau, Dresden, Germany.   CAT / SCR
    - "FILE 2004", Galeria De Arte Do Sesi, San Paulo, Brazil.   CAT / SCR
    - "SeNef 2004", Seoul Net and Film Festival, Seoul, Korea
    - "Impromptus", Beth Allison Gallery, Kansas City, MO, USA.   SOL
    - "New/Two", Block Artspace, Kansas City, MO, USA
    - "time:base:inside", Boley Building, Kansas City, MO, USA
    - "MAF-04", Sinakarinwirot Gallery, Bangkok, Thailand
    - "FUTURE CINEMA, The Cinematic Imaginary after Film", ICC, Tokyo, Japan.   CAT

  • 2003
    - "ArtFutura 2003", Museo Fundacion Cristobal Gabarron, Valladolid, Spain
    - "Future Cinema", Museum of Contemporary Art Kiasma, Helsinki, Finland.   CAT
    - "MAD'03", Encuentro de Arte Experimental, Madrid, Spain
    - "FILE 2003", Festival Internacional de Linguagem Eletronica, San Paulo, Brazil.   CAT
    - "Dreamwaves", The Labyrinth Project, Annenberg Center USC, Los Angeles, USA
    - "New Directions in New Media", Minima, Philadelphia, USA
    - "ex-space", Knitting Factory, New York, USA
    - "Cinemania 2003", Museum of Contemporary Art, Zagreb, Croatia.   CAT (DVD)
    - "digitaldiary", ULUPUH Gallery, Zagreb, Croatia
    - "Electromediascope", Nelson-Atkins Museum of Art, Kansas City, USA
    - "The Grammar of Future Cinema", Streaming Cinema 3.0, Philadelphia, USA
    - "Machinista", Perm, Russia
    - "CyberArts 2003" - Prix Ars Electronica Exhibition, Linz, Austria.   CAT (DVD+CD)
    - "Re-Load", Istanbul Contemporary Art Museum, Istanbul, Turkey

  • 2002
    - "Future Cinema", ZKM Museum, Karlsruhe, Germany.   CAT
    - "Free Manifesta" Manifesta 4, Frankfurt, Germany. Organized by Sal Randolph,  CAT
    - "Cinemania(c)", Luka Gallery, Pula, Croatia.   CAT (DVD)
    - "Immedia 2002" - University of Michigan, Ann Arbor, MI, USA

  • 2001
    - "Waterdream", Streaming Cinema 1.0, Philadelphia, USA

  • 2000
    - "SeNef 2000" - Seoul Net Festival, Seoul, Korea

  • 1999
    - "FIFI '99" - Festival International du Film de l' Internet, Cannes, France

Selected Bibliography

  • "...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" Studio Matteo Boetti. ARTE E CRITICA. Giugno-Agosto 2008: 97

  • "...[Flamini] visual language becomes a minimal syntax based on patterns, harmonic nuances, and dissonances. The visualization focuses on the limits of an image and its narrative space, on an idealization of an image."
    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

  • "...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. 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

  • "...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

  • "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

  • "...the sheer haunting beauty of [Flamini] multimedia offering is strong enough to touch their intuition."
    Malewski, Nick. "Blind Files. Flamini puts layers upon layers". The Kansas City Star. May 2009: 29

  • "...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