Andrea Martinucci (b. 1991, Rome, IT) is a visual artist who lives and works between Milan and Rome.

His work has been exhibited in institutional and experimental spaces such as Institut Français - Palazzo delle Stelline (Milan IT, 2016); IIC Los Angeles (Los Angeles USA, 2022); Mattatoio (Rome IT, 2016); Palazzo Reale (Milan IT, 2019); Tang Contemporary Art (Hong Kong CN, 2020); Aldea - Center for Contemporary Art and Technology (Bergen NO, 2023); FuturDome (Milan IT, 2017); Palazzo delle Esposizioni (Rome IT, 2012); IUNO (Rome IT, 2022); VUNU Gallery (Kosice SK, 2020); ZETA Contemporary Art Center (Tirana AL, 2021); Museum of Contemporary Art of Villa Croce (Genoa IT, 2012); Museum of Art and Archaeology of Maremma (Grosseto IT, 2017); Fondazione Pastificio Cerere (Rome IT, 2012).

In 2020 he was among the winners of Cantica21. Italian Contemporary Art Everywhere (supported by Directorate General for Contemporary Creativity by the Italian Ministry of Culture and by the Italian Ministry of Foreign Affairs), with Turbomondi (Melodia), a video installation destined for the Public Collection of Istituto Centrale per la Grafica, Rome, IT. He took part in several projects, among which: Tonight we are young - New Italian Art, Triennale (Milan IT, 2022); Fenomeno Pasquarosa, La Fondazione - Nicola Del Roscio Foundation (Rome IT, 2020); MANIFesta - Iniziative di II, MACRO - Museum of Contemporary Art of Rome (Rome IT, 2021), Rereading the Archive, ICA Foundation (Milan, IT 2022) and SPRINT, O’ Space (Milan IT, 2017).


Through painting, which expands and intersects with different media, Martinucci's practice is based on archival approach. Among the themes that he investigates are the narrative of the Self and the complex relationship between altered memories (real or digital), imagination and fiction. His artistic process is characterized by a visually overflowing experience that thrives on assemblages and free associations, capable of generating non-linear narratives with humorous, absurd, and poetic tones.

The intention to depict this fragmented imaginary usually translates into a reconsideration everyday elements emptied of their purposes, becoming access keys to trascendental dimensions composed of a multitude of resulting symbols.