Born in Florence on the 19th of april 1948, Andrea Marini attended the "Liceo" specializing in art subjects and graduated in Architecture at the University of Florence.
Marini has been always very interested in art, but he begun to produce continously sculptures in 1987. Its first personal exhibition was in 1989 .Since then he has participated, to several personal and collective exhibitions in art galleries and municipality spaces. He lives in Florence and he carries out his art activity in an industrial loft placed in Calenzano, near Florence.

Critical notes
Andrea Marini creates objects "that do not exist in nature, but could be existing and developing according to new rules" (Patrizia Landi). He invents " shapes in embryo ", givings them significant titles such as Coltura, Infiorescenza, Incubazione. The artist plays with the changing objects and their ambiguous appearance: Nests, constructed with barbed wire, can be seen also as Traps; they are covering "inner ways, threads of memory that sometimes wrap around themselves in attitudes of waiting" (Patrizia Landi). Through the fantastic imagination of Andrea Marini, the industrial materials (polystyrene, resins, enamels, metals) are transformed into simply shaped volumes, the natural light is replaced by electric lights ( neon and Wood's lamps), reaching at last new codes of life.
From Introduction to Tracce fuori centro: Gilberto Zorio and Andrea Marini, Villa Vogel, Florence 2001

Andrea Marini moves from a wrapping and roundish dimension towards a sharp one, which, in some of his works is ,for the material used, uncomfortable to touch but nevertheless full of charm for the vision. All the titles of his works, clearly refer with poetry to a situation of vitality, in the air as well as in the matter: these two become a concrete, physically sensitive sculpture which imbues the space, primarily as an installation, thereafter also for subdivision of times and rhythms. If the primary nucleus of his work is a language problem, changing from a sculpture to the other also according to the different material used (resin, barbed wire,...), there and then the shape grows and develops winking ambiguous in its materiality, therefore also surrealist (lunar), such as to turn out at the same time warm and disenchanted, approaching the irony which always keeps company reflection.
Giandomenico Semeraro, 2000

Andrea Marini, without easy dramatic tones, searching the objectivity and the separation of the impartial observer, with a sure dose of irony, has created a gray coloured universe, with opaque surfaces, maintaining or transforming, with great inventive know-how, the characteristics of the used materials. A universe in which natural and artificial do not crash anymore but on the contrary match giving birth to a new age of the world. The man,though beying the creator of this new situation, seems uneasy, waiting resigned and estonished for the process of his slow extinction.
Gianni Caverni, 1998

The basic idea of the artistic production of Andrea Marini, since the beginning, is the one of becoming put into effect through the transformation, generating the shape, another shape, the matter, another matter, in a continuum which refers to the one of nature. Since the beginning , the basic elements of his research are the connections, the usual relationships between the organic world, plants and animals, and the inorganic, between the natural and the artificial elements. It is also evident from the materials used, natural matters like wood, iron, lead, aluminum, copper, combined with artificial ones, like rubber, plexiglass, polystyrene, resinglass.
Elda Torres, 1995

Personal Exhibitions
  • Studiotalks, by Associazione culturale Start, visit featured by Bruno Corà, Calenzano (Fi), 2005
  • Ibernauti, by Patrizia Landi, Libera Accademia di Belle Arti, Florence, 2004
  • Sradicato, by Ronaldo Fiesoli, Patrizia Pepe, Capalle, Florence, 2003
  • Ovovoidi - Cotto ad Arte: Daniela Cresti's project, Località Torri, Rignano Sull'Arno, Florence, 2003
  • Effettoserra, by Paola Ballerini, Associazione Culturale Grafio, Prato, 2002
  • In Nuce, Recalcati Arte Contemporanea, Torino, 1998
  • In rerum natura, La Corte Arte Contemporanea, Florence, 1998
  • Fiorile Arte, by Vladimiro Zocca, Bologna, 1997
  • Bilancia delle Anime, by Valeria Bruni, Galleria Spazio Immagine, Foligno, 1994
  • L'Armonia Discorde, by Emidio De Albentiis, Palazzo Comunale, Perugia, 1993
  • Studio d'Arte Contemporanea Renata Torino, by Lia De Venere, Isernia, 1993
  • Un teatro di forme, by Gino Calenda, Chiesino di S. Ambrogio, Prato, 1989

    Collective Exhibitions
  • Il giardino immaginato, project and organization by Luca De Silva, art coordinator Bruno Corà, Palazzo di S. Clemente, Florence, 2006
  • Arttrazione, testo critico di Carlotta Pazzagli, Artesi, Florence, 2006
  • 4me fo(u)rme, by Fiorella Nicosia, La Corte Arte Contemporanea, Florence, 2006
  • Boart, Colectiva Artistas Italianos Magatzemsd'artvalencia Galeria, Valencia, 2006
  • Inseguendo il coniglio bianco, by Loris Schermi Alberto Miralli Arte Contemporanea, Viterbo, 2005
  • Bicisalide, Cicli d'arte, art nest, Florence, 2005
  • Tracce fuoricentro live, by Gaia Bindi and Patrizia Landi, Fuoricentro, Livorno, 2004
  • Dialoghi muti, by Gianni Caverni and Lorenzo Pezzatini, Cure d'arte, Area Pettini Burresi, Florence, 2003
  • Arte in Orto, Botanical Gardens of Florence, Giardino dei Semplici, 2003
  • Tracce fuori centro: Gilberto Zorio and Andrea Marini, by Bruno Corà, Centro per l'Arte Contemporanea Luigi Pecci of Prato and Quartiere 4 of Florence, Villa Vogel, Florence, 2001
  • Invasioni, by Francesca Milani and Patrizia Landi, Lastra a Signa, Florence, 2001
  • Inveri-Similis, by Giandomenico Semeraro, La Corte Arte Contemporanea, Florence, 2000
  • Artificialia, by Patrizia Landi, Palazzo Marini, Rosignano Marittimo, 2000
  • Contro la pena di Morte, by Lara-Vinca Masini, Fortezza da basso, Florence, 2000
  • MiNiPiXiL, Fiorile Arte, Bologna, 1999
  • Caos Italiano new vision, by Ruggero Maggi and Carmelo Strano, San Vito al Tagliamento, 1999
  • Inscritta, by Giandomenico Semeraro, Cascina, 1999
  • Manod'opera al nero, Galleria Container, Florence, 1998
  • Anime in autoritratto, Milan Art Center, Miart: Fiera di Milano, 1997
  • Riparte, Milan Art Center, Roma, 1997
  • 1° premio Trevi Flash Art Museum, Palazzo Lucarini, Trevi, 1996
  • Grands et jeunes d'aujourd'hui, espace Eiffel, Branly, Paris, 1996
  • Mercantia, VIII° Festival Internazionale del Teatro da Quattro Soldi, Certaldo, 1995
  • Pompei a Borgo Marelli, Manod'opera, Borgo Marelli, Fiesole, 1995
  • Manod'opera, by Patrizia Landi, Cardillac Cafè, Florence, 1994
  • Studi aperti '94, by Fiammetta Strigoli, Florence, 1994
  • La soglia interna, by Fiammetta Strigoli, Museo Nazionale di Antropologia e Etnologia, Florence, 1994
  • Centro Luigi di Sarro, by Patrizia Ferri, Roma, 1992
  • Estuario, by Patrizia Ferri, Praia a Mare, 1991
  • Intra Moenia, by Massimo Duranti and Antonio Carlo Ponti, Corciano, Perugia, 1991
  • L'Utopia possibile, by Nicola Nuti, Florence, 1990
  • Galleria Atelier, Carrara, 1990
  • S/Definizione d'Artista, by Valeria Bruni, Follonica, 1990
  • Studi aperti, Arteria, Prato, 1990

    Andrea Marini
    via degli Artigiani, 72
    50041 Calenzano – Florence, Italy
    cell. 347 8751230
  • Open Space 

    translation by:
    Federica Capoduri

    in cooperation with:
    Federica Capoduri
    Mariagiulia Graniti