After the passing of Andrea Granchi, the multifaceted artist, filmmaker, curator, and professor, we reflect on the profound legacy he left behind. Revisiting an enlightening interview he granted me during an event at the Pecci Center in Prato, Italy, offers an opportunity to delve into the life and work of a remarkable figure who significantly shaped the landscape of experimental and artist cinema.
Early Life and Artistic Formation. Andrea Granchi was born in Florence in 1947 and graduated from the Academy of Fine Arts in 1969. His artistic talent was evident from an early age, earning him prestigious awards as a young artist. Granchi quickly became recognized as a pivotal figure in Italian Artist Cinema, a genre he helped pioneer. Art historian Lara-Vinca Masini described his films as “among the most lucid, ironic, and perfect artist films,” highlighting their incisiveness and innovation. Throughout his career, Granchi created groundbreaking works and curated exhibitions of international significance, presenting in Italy and abroad. Notable venues included the Centre Pompidou and Cinémathèque Française in Paris, as well as major events such as the Venice Biennale (1978, 2011), Milan Triennale (1981), and Rome Quadrennial (1986).
His artistic contributions spanned decades, with works included in exhibitions like Italian Art Today (Stockholm, 1987), Estecne (Valencia, 1990), and The Expanded Gaze: Italian Artist Cinema 1912-2012 (Catanzaro, 2012). More recently, his films were acquired by the MAXXI Museum in Rome during the exhibition Doppio Schermo (2017), cementing his place in contemporary art history.
Pioneering Artist Cinema. Granchi was among the first artists to merge plastic elements with moving images, soundscapes, and film projections. His works, such as L’Allegro e il Pensieroso (1980), Il Turco e l’Italiana (1980), and L’Inventore e l’Epigono (1981), exemplify his avant-garde approach. These projects often invited audience interaction, transforming traditional cinematic experiences into dynamic and participatory performances.
In Florence during the 1970s, Granchi immersed himself in the city’s burgeoning experimental art scene. His contributions paralleled global movements that explored video and film as artistic mediums. Florence’s Art/Tapes/22 initiative, led by Maria Gloria Conti Bicocchi, hosted figures like a young Bill Viola, while Gianfranco Baruchello and Alberto Grifi’s Verifica Incerta (1965) offered an ironic reassembly of Hollywood film clips. Granchi added to this vibrant ecosystem by organizing the International Days of Artist’s Cinema in Florence in 1978, known as La Mano dell’Occhio. This event showcased works by artists such as Norman McLaren, Len Lye, and Paul Sharits, and established Florence as a hub for artist cinema.
Curatorial Contributions and Critical Texts. Granchi’s curatorial work extended beyond Florence. In 1978, he curated a major exhibition at the Cinémathèque Française in Paris, presenting two distinct sections: “Artist Cinema” and “Experimental Cinema,” the latter curated by Luca Ferro. These efforts bridged Italian and international experimental cinema, bringing visibility to overlooked works. His publications, La Mano dell’Occhio and Cine Qua Non, remain essential texts. They provided comparative analyses of Italian, European, and American artist cinema, sparking debates that elevated Florence as a center of Italian experimental film alongside Rome and the Turin/Milan axis.
Granchi’s relationship with the United States was particularly significant. In 1980, he organized a selection of Italian Artist Cinema for the Philadelphia Museum of Art, supported by the Comitato Manifestazioni Esposizioni Firenze Prato. That same year, he initiated the “Scuola di Firenze” (Florence School), a collective of artists including Renato Ranaldi, Mario Mariotti, Massimo Becattini, and Alberto Moretti. This group gained prominence through exhibitions and public events, fostering a vibrant community of experimental filmmakers.
Bridging Cultures: Italy and the United States. The 1980s saw Granchi deepening his ties with the United States. In 1986, he co-directed a documentary on Filippo Mazzei, an Italian advisor to Thomas Jefferson, with director Massimo Becattini. Filmed in New York and Charlottesville, Virginia, the documentary highlighted Granchi’s ability to bridge cultural contexts and enrich both Italian and American art scenes. His works underscored the interconnectedness of artistic and historical narratives, bringing a unique perspective to his projects.
Granchi’s dedication to interdisciplinary collaboration was evident in his participation in Zona, an international network of artists and curators. He co-curated Zona Artists’ Film in 1976, featuring figures like Joseph Beuys, Gordon Matta-Clark, and Bruce Nauman. This initiative connected Florence’s art scene with global trends, providing local artists with international exposure.
Granchi’s intellectual rigor extended to his theoretical explorations of artist cinema. He clarified the distinctions between American Underground cinema and Italian Artist Cinema, noting the structural and cultural differences between the two. While the American Underground thrived on independent production and organized circuits, Italian Artist Cinema often relied on smaller cooperatives and individual initiatives. Granchi’s critical analyses contextualized these movements within broader artistic and social frameworks, offering insights into their unique trajectories.
Italian underground cinema. In Italy, Vittorio Fagone and Lara Vinca Masini were two key figures in the context of art and cinema of the 1960s and 1970s. In particular, Vittorio Fagone, an art and film critic, and Lara Vinca Masini, an art historian, have contributed significantly to the promotion and understanding of artist cinema and video practices. Fagone has written numerous articles and critical essays that have analyzed and valorized the role of visual art in the cinematographic context, while Vinca Masini has dedicated her work to researching and documenting the works of visual artists and experimental filmmakers. Both have played a fundamental role in promoting contemporary art and facilitating dialogue between artists, critics and the public. Their visions and analyses contributed to defining the artistic and cultural panorama of the time, highlighting the importance of video as an expressive and artistic medium.
Collaboration with Gruppo 70 and Visual Poetry. Granchi’s interdisciplinary approach aligned with the ethos of Gruppo 70, a collective of visual poets and artists in Florence. Figures like Giuseppe Chiari, Ketty La Rocca, and Eugenio Miccini explored “cinepoems” that combined film and poetry in innovative ways. These experiments resonated with Granchi’s own work, which often blended visual and textual elements to challenge conventional artistic boundaries.
One of Granchi’s notable influences was Silvio Loffredo, a painter and filmmaker who experimented with found footage and mixed media. Loffredo’s work, which intertwined everyday life with artistic expression, reflected a shared commitment to pushing the boundaries of cinematic form. Granchi’s curatorial initiatives provided platforms for such experimental works, fostering a dynamic exchange of ideas.
Legacy and Impact. Andrea Granchi’s legacy is defined by his dedication to innovation and interdisciplinary exploration. Through his work, he illuminated the richness of multimedia languages and demonstrated the power of art to transcend traditional boundaries. His efforts to promote experimental cinema and artist films ensured their recognition as vital components of contemporary culture.
Granchi’s influence extended beyond his own creations. By organizing festivals, exhibitions, and screenings, he provided platforms for emerging artists and experimental works. His curatorial and critical activities highlighted the connections between artist cinema and broader artistic currents, fostering a deeper understanding of their cultural and social roots.
In our interview, Granchi reflected on the unique challenges and triumphs of Italian Artist Cinema, emphasizing its role in shaping contemporary art. His insights into the 1970s art scene revealed a period of profound creativity and cross-cultural exchange, where art and technology merged to redefine the possibilities of expression.
Andrea Granchi’s contributions to art, cinema, and culture remain a source of inspiration. His unwavering commitment to fostering dialogue and experimentation enriched the artistic landscape, leaving a lasting impact on generations of filmmakers and artists. As we remember his life and work, we celebrate a visionary whose legacy continues to resonate across disciplines and borders.
Andrea Granchi allowed me to show a cross-section of Italy in the 70s which, thanks to influences from foreign countries, opened up and mixed situations, art and technology to convey the richness of multimedia languages and audiovisual.
We would like to announce the release of the book that collects in an anthology the thoughts and works of Andrea Granchi. L’immagine in movimento. Films and works 1966-2019. Forma Edizioni, Florence, with texts by Bruno Di Marino, Giovanna Dalla Chiesa, Jennifer Malvezzi, Stefano Pezzato e Andrea Granchi.
A special thanks to Nilo Australi Giacomo Granchi for the materials and moral support, and to Maestro Andrea Granchi for all his teachings that could have been more and more.
For further information on the history of art cinema in Italy, see:
Videoarte in Italia. Il video rende felici, published by Treccani, edited by Cosetta Saba and Valentina Valentini
Art/tapes/22. Le origini della videoarte, Silvana editoriale, edited by Anna Mazzanti.
Arte a Firenze. 1970-2015. Una città in prospettiva, Quodlibet editions, edited by Alessandra Acocella, Caterina Toschi.
