Francesca Fini is an interdisciplinary artist focused on experimental cinema, digital animation, new media, installation and performance art. Her live projects, often addressing issues related to femininity, the distortions in the perception of beauty, the influences of society on gender and women's issues, are a mix of traditional media, lo-fi technology, homemade interaction design devices, live audio and video. Primarily interested in video and live art, she also creates artworks assembling performance art relics and video stills.

Fini's practice is primarily digital. She worked for fifteen years in the field of digital media and television. She has shown work internationally, including at 2011 WRO Biennale in Poland, CINEMED Film Festival in Montpellier, NordArt International Art Exhibition, Berlin Directors Lounge and IKONO TV Film Festival in Germany, Videoformes Festival in Clermont Ferrand, Szczecin European Film Festival (SEFF) in Poland, FILE Electronic Language International Festival in Brasil, Athens Videoart Festival, IVHAM New Media Arts Fest and Proyector Festival in Madrid, CYBERFEST and Now&After in Russia, Robot Festival in Bologna, Instants Video numériques et poétiques in Marseille, BORDERCROSSING - official collateral event @ MANIFESTA12, MEM Festival at the Guggenheim Museum in Bilbao, BODY + CAMERA at MANA Contemporary Chicago, Un-Becoming at SomoS Art House Berlin, the Japan Media Arts Festival in Tokyo and the Margaret Guthman Musical Instrument Competition, organized by the Georgia Institute of Technology in Atlanta.

As a pure performance artist, she was part of the iconic first edition of the Venice International Performance Art Week, featuring among others the work of Valie Export, Jan Fabre, Yoko Ono, Marina Abramovic and Hermann Nitsch. In 2014 and 2016 she was artist in residence at Bob Wilson's Watermill Center in New York. In 2016 she wrote and directed Ophelia Did Not Drown; an experimental feature film based on the hybridization between found-footage (from the national archive Istituto Luce Cinecittà) and original contemporary performative language, considered by legendary movie art critic Adriano Aprà, one of the best Italian experimental art film of all times.

She is cited by Treccani Encyclopedia as one of the greatest exponents of cyber-performance in Italy.

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