From, Maybe To
From, Maybe To is a research project culminating in the creation of various sculptures, aimed at investigating the natural algorithm through which self-similar processes of construction and dissolution manifest themselves in our memory via modules and their evolution, starting from personal remembrances.
The work delves into the intersection of music, visual art, and architecture within a conceptual framework rooted in self- referential proceduralism. Gianluca Iadema’s memories become the one of the sculpture. It reflects on itself, incorporating itself by identifying with itself when it encounters itself, transcending its own nature, because time arises from Memory. This process involves the present moment being a memory and then being regarded as a memory and reintegrated into the present moment. In this manner, the present moment exists both as itself in the present and as itself in the past, thereby creating a sense of passage.
These simple metal structures are conceived as filters, through which some excerpts of memory, represented in this particular work by piano components and other musical elements, are processed. Each structure engages in dialogue with a musical element, composed entirely on the piano using both standard and extended techniques. As a result, they are transformed into autonomous systems, almost like three-dimensional mnemonic projections. Simultaneously, each piece incorporates natural elements, specifically tree branches, to symbolize the fractal evolution of nature and our own development.
Zeiträume is an electronic music performance where desolate and nostalgic atmospheres blend with sonic abstractions from various musical styles, including techno, glitch, pop, and ambient, merged with contemporary classical concepts. It envisions what the world’s dream might be, and by extension, the dream of music, as if we had never experienced them before.
This performance interweaves the analog and digital worlds, morphing and sculpting the two realms as equal sound materials, bringing the processes to the forefront and elevating the background to the subject. Starting with the sound generation of the Pulsar 23, a semi-analog drum machine as the sole sound source, the sound is then processed digitally through convolutions, data bending and polyrhythmic loops.
Biography
Composer, visual artist, and performer Gianluca Iadema works with a multidisciplinary approach to music, video, and installation, resulting in an art typology that encompasses many of its expressions: sound, image, sculpture, including performance, light, and everything in between. This creates an artistic form in which the viewer no longer perceives them as separate, but rather experiences them as a whole.
In his artistic practice, the interdependence between visual and auditory elements is of fundamental importance, as are the influences of architecture and cinema. These elements are integrated within a conceptual framework aimed at investigating themes such as matter and imperfection. Regardless of the medium used, narrative in its abstract form is essential, originating from found objects within memory and the personal and collective subconscious. His works represent an exploration that seamlessly blends and morphs digital and analog realms, as well as reality and imagination.
The artist, in fact, creates a context through the artistic work in which the viewer becomes the protagonist, bringing forth the processes and elevating the background to the subject.
He holds a Master in classical piano performance from the Conservatory of Brescia (Italy), studying with Maurizio Zana and Giampaolo Stuani, a Bachelor in Computer Music from the IEM – Institut für Elektronische Musik und Akustik (Austria), deepening the study of electronic music and audiovisual art with Marko Ciciliani, and one in Classical Composition from the Kunstuniversität für Musik und Darstellende Kunst Graz (Austria), studying with composers such as Richard Dünser and Clemens Gadenstätter. In 2023 he graduated with honors, obtaining a master’s degree in Composition and Creative Practice at the Hochschule der Künste Bern (Switzerland), under the guidance of Simon Steen-Andersen. He studied and participated in important master classes with artists such as Curtis Roads, Matthew Shlomowitz, Stefano Gervasoni, Gerhard Eckel, Gilbert Nouno, Daniel Mayer, Bernhard Lang, Alexander Stankovski, among others.
He has been commissioned, performed, collaborated and exhibited for renowned festivals, ensembles and gallery spaces such as Schallfeld Ensemble (Graz, 2018), Nasimi Festival (Baku, 2018), Halle für Kunst Steiermark (Graz, 2018), ZKM (Karlsruhe, 2019), Wien Modern (Vienna, 2020), Recontemporary (Turin, 2022), Seeyousound (Turin, 2023), Klang festival (Copenhagen, 2023), Neko3 (Copenhagen, 2023-2024), Teatro Grande (Brescia, 2023), Suburbia Contemporary Art Gallery for Loop Festival (Barcelona, 2023), Zone Digitali (Bergamo, 2023), ICTAF (Cape Town, 2024) and Barcelona Gallery Weekend (Barcelona, 2024). He is the winner of international composition prizes such as the Franz Schubert und die Musik der Moderne (Graz), as well as the recipient of the prestigious Giulio and Giulio Bruno Togni Prize (Brescia) for his promising artistic career.
In 2019, he released his first album ‘Aphàiresis’ for the historic record label Mille Plateaux, to be followed by ID[entità] in 2023, in collaboration with the Swiss singer Franziska Baumann. His performances and composition were broadcast by radio stations such as BBC, ORF and RTVE, among others. Articles about him and interviews have appeared in La Stampa, Il Sole 24 Ore, Corriere della Sera and Forbes Italia. His works are held in important collections such as Stefano Cecchi Trust Collection, Iole Pellion di Persano Collection and Recontemporary Collection, among others.
