Andrea Lissoni, Senior Curator, International Art (Film)
Work at Tate
As Senior Curator, International Art (Film), Andrea Lissoni is responsible for exhibitions, acquisitions and displays of film and moving image works at Tate Modern. His role includes formulating a programme strategy for film, and for moving images and sound in the museum more generally. Together with Catherine Wood, he is currently implementing the programme for film and live art in the Tanks at Tate Modern from 2016 onward.
Joined Tate 2014.
Andrea Lissoni has a background in art history and obtained a PhD from the University of Udine/Université Paris 1. He was Professor of the History of Contemporary Art at the Academy of Fine Arts of Brera, Milan (2001–13) and taught at Università Bocconi, Milan in 2007–13. He co-founded and co-directed Netmage, the international festival of electronic art in Bologna (2000–11). From 2011 to 2015 he worked as a curator at HangarBicocca, Milan. He has been involved in international juries and awards for established film festivals including Festival Internacional de Cine UNAM in Mexico City; Copenhagen International Documentary Festival (CPH:DOX); Festival International de Cinéma de Marseille; Torino Film Festival; and Festival Internazionale del Film di Roma. Andrea Lissoni has taken part in roundtables and discussions about the relationship between film and art. He sits on the Board of Film London and is an Advisory Board Member of the EYE Prize (EYE Filmmuseum, Amsterdam).
Andrea Lissoni’s research concerns the expansion of performance and moving image (experimental cinema, artist’s film and video) within the field of contemporary art. His PhD focused on the discovery of VariaVision(1965), an early installation by the filmmaker Edgar Reitz conceived at the Ulm School of Design, which he used as a case study to propose a different perspective on the history of neo-avant-garde cinematic experiments, as well as a model to re-examine the conventional roots and the definition of expanded cinema. Liveness, cinematic aspects in time-based artworks and the perception of time in space are Andrea Lissoni’s current research topics. He explores these through transdisciplinary approaches to research and exhibition-making, and is attentive to artistic contexts across dominant cultures and subcultures (in particular music), and to the various forms of analysing and questioning cinematic apparatus. His written and curatorial projects have focused on such artists as Joan Jonas, Mike Kelley, Apichatpong Weerasethakul, Yervant Gianikian-Angela Ricci Lucchi, Phill Niblock, Susan Hiller, Philippe Parreno and Cameron Jamie.
- With Laura Barreca, Luca Lo Pinto and Costanza Paissan, Terrazza: Artists, Stories, Places in Italy Since the 2000s, Quadriennale di Roma, Venice 2014, 500pp.
- ‘To be a Cloud, to be an Archipelago. To be Out of Ordinary’, in Fiona Tan: Inventory, exhibition catalogue, MAXXI, Rome, and Philadelphia Museum of Art, Philadelphia 2013, pp.21–6.
- ‘Who and What Plays in Unidisplay?’, in Susanne Gaensheimer and Eva Huttenlauch (eds.), Carsten Nicolai: Unidisplay, exhibition catalogue, Museum für Moderne Kunst, Frankfurt, 2013, pp.49–52.
- ‘Atlas Obscura’, Mousse, no.39, Summer 2013, pp.86–95.
- ‘Tuning the Gaze’, in Carlos Casas (ed.), End: Journeys to the End of the World, Mantua 2012, pp.4–5.
- ‘The Badouin Experiment’, in Carsten Holler: Experience, exhibition catalogue, New Museum, New York 2011, pp.63–5.
- ‘Non c’è Nulla. Cosa State Guardando?’, in Daniela Persico, Wang Bing: Il Cinema nella Cina che Cambia, Milan 2011, pp.101–6.
- ‘Horizons of Temperamental Design’, in Désirée Heiss, Ines Kaag, Manuel Raeder and others (eds.), BLESS: Retroperspective Home N°30–N°41, Berlin 2010, pp.145–53.
- ‘Images on Fire: Apichatpong Weerasethakul’, Mousse, no.19, June 2009, pp.83–6.
- ‘The Magical Bucket: Melvin Moti’, Mousse, no.17, February–March 2009, pp.60–1.
- With Gabriele Basilico, Gabriele Basilico: Architetture, Città, Visioni: Riflessioni sulla Fotografia, Milan 2007, 160pp.
Last updated January 2015.