BIO

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); FuturDome (Milan IT, 2017); Palazzo delle Esposizioni (Rome IT, 2012); 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); Pastificio Cerere Foundation (Rome IT, 2012) and In De Ruimte Space (Gent BE, 2019).

In 2020 he was among the winners of Cantica21. Italian Contemporary Art Everywhere (MAECI-DGSP/MiC-DGCC), 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).


For updated cv, please write an e-mail to:
andreamartinucci1@gmail.com



STATEMENT

My artistic process takes place through assemblages and chaotic overlaps across diversified contents. By composing complex images through modification, fragmentation and hybridisation, I elaborate nonlinear, metaphorical narratives that employ humour, absurdity and poetry to explore themes such as memory loss (whether real or surrogate), traumatic experiences and sublimation processes, in order to hypothesize other consciences. My observation of reality translates into the use of everyday objects, as ruins expelled from a society speeding towards its own collapse. I then process these unconscious contents that are able to welcome mysterious reminiscences between all worlds and all encounters, ultimately letting viewers decipher the resulting plethora of symbols for themselves.

The interest in these issues finds expression mainly through painting, influenced by a strong familial bond with this medium and the possibility of activating personal rituals that create a relationship with life and death. Beyond the two-dimensional space, I continue my investigations through writing and moving images – intended as an extension of painting – thus addressing memories of inner space and their potential connections to the idea of the Self.