From, Maybe To

About

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.