Artworks & Projects
Every project is driven by a unique investigation. Spanning different mediums, each work activates latent temporal and semantic potentials, transforming technical elements into speculative narrative forms.
In and out: however oneself
audiovisual work
From, maybe to: prelude
audiovisual work
From, maybe to: my plan your floor (remix)
mixed media
From, maybe to: sculpture
installation | sculpture
From, maybe to: my plan your floor
digital drawings | prints
ever.rave
multimedia performance | movie
Un_i[n]verso - audiovisual works
installation | audiovisual
Un_i[n]verso - audiovisual sculpture
installation
ID[entità]
music album | music performance
Aphàiresis
music album | audiovisual
Artworks & Projects
Every project is driven by a unique investigation. Spanning different mediums, each work activates latent temporal and semantic potentials, transforming technical elements into speculative narrative forms.
Osservazioni
Osservazioni (eng. observations) is a section dedicated to works conceived as experiments or preliminary phases of broader projects.
Osservazione N.3
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This artwork builds upon the development of Un_i[n]verso – audiovisual work no. 5, offering a physical translation of the morphing technique employed in the original audiovisual piece.
mixed media
Osservazione N.1
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This artwork builds upon the development of Un_i[n]verso – audiovisual work no. 6, representing one of the first physical translations of Gianluca Iadema’s audiovisual practice.
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The following artwork precedes the development of the audiovisual work In and out, however oneself. It was created during a residency in Cape Town in 2025 and presented at the exhibition Vision in motion in Cape Town, organized in collaboration with Recontemporary and curated by Iole Pellion di Persano.
installation | sculpture
Osservazione N.4
Osservazione N.4 - Psychosis
audiovisual work
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“Psychosis”, Gianluca Iadema’s first audiovisual composition, integrates voice, tape, live electronics, and video, drawing inspiration from the literary work “4.48 Psychosis” by the English playwright Sarah Kane. This work delves into the intricate interplay between the inner and outer realms. Within it resides the weight of existence, a murmur that carries the word ‘suicide’ upon the wind, an exploration of solitude, a burdensome mass that contemplates unacceptable demise as a permissible option. Gradually, the whispers of “Psychosis” intensify into cries, a poignant supplication for assistance, for affection. Drawing inspiration from eminent composers such as Luciano Berio, Georges Aperghis, and Jonathan Harvey, the text was reconfigured through the prism of sonic criteria. The progression of words and fragments deliberately resists complete structural coherence in meaning: the text, dissected into its phonetic constituents and intertwined with principles of fluidity, perpetually revolves within itself, epitomizing Luciano Berio’s concept of being text and context of itself.
Current research
A dedicated space showcasing ongoing projects and works in development from 2023 to the present, offering an look into the latest directions and evolving phases of current artistic research.
audiovisual work
Phasing back within (audiovisual work)
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This video originates from the research developed in Phasing Back Within, which investigates sound as a material trace, something that can be stored, sedimented, and reactivated within organic structures.
Building on this premise, the work explores the possibility that trees function as involuntary recording devices, their internal fibers preserving residual acoustic information over time. A cross-section of a tree trunk becomes the primary site of analysis: a dense archive of latent vibrations, where sound persists as a form of embedded memory.
Through computational processes, this sonic residue is extracted and interpreted. An AI system attempts to reconstruct the acoustic identity of a lost or unrecorded culture, translating fragments of sound into coherent patterns. From these patterns, sometimes directly from their waveforms, spatial configurations begin to emerge, suggesting the outlines of architectures and entire urban environments.
The video situates this process within a fictional extraction site where, instead of petroleum, sound is mined from trees, conceived as an extension of the research rather than a metaphor. As the discovery unfolds, the system begins to speculate beyond the available data, generating a detailed yet fictional history of a civilization that never existed, but remains materially and acoustically plausible.
installation | sculpture
Frammenti di un discorso di luce
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“Frammenti di un discorso di luce” is a project that takes the form of an installation conceived to evolve, in a second phase, into a series of sculptures of variable dimensions.
Each artwork constitutes a unique piece, aimed at interpreting and narrating the imaginary history of color, glass material, and its properties, developed in the wake of the long artisanal expertise of Orsoni Venezia 1888.
The manufacturing “waste” is not understood as a mere means, but rather as a true site of investigation: residual chromatic fragments elevated into artifacts capable of revealing a latent history.
In this way, attention shifts from the future destination to the profound memory that each element already preserves.
Through an optical study, light rays pass through the reflective veins of the color heaps, projecting a caustic effect onto a concave plane. This phenomenon occurs when light, passing through a transparent and curved surface, concentrates into luminous patterns and lines on the surrounding surfaces.
It does not merely represent an aesthetic phenomenon, but is artistically interpreted as a topographic map as well as a starting point to trace the imaginary history of the work’s elements.
From the abstraction of light, we move to matter: the organic morphology of the “stones” guides the design of the supporting metal structure. The latter naturally follows its profile, preserving its identity as an objet trouvé.
At the same time, the steel orbits surrounding it are conceived as a scaffolding: the tangible residue of the study of the “stone” still unknown to us, as if to document the act of research.
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The project is grounded in the idea that vegetal structures, through their material properties of fiber, density, and resonance, may encode a latent musical dimension reflecting the cultural conditions of of their surroundings.
Building on this premise, Phasing back within investigates the possibility that vegetal matter can act as an active memory medium, not metaphorically, but materially, where sound and cultural information might persist within the physical texture of plants.
Developed as a sculptural audiovisual installation, the work explores the physical and acoustic properties of wood as a potential carrier of cultural and musical memory. Focusing on the grain patterns and their microstructures, it examines whether these natural inscriptions, shaped by climate, age, and migration, could resonate with, or even reveal, traces of the musical traditions embedded in the regions that have shaped their growth.
The project originates from a visual intuition: under magnification, the microscopic texture of wood fibers recalls the grooves of vinyl records. This resemblance becomes a working hypothesis: what if these vegetal grooves could be read as “latent recordings”? By scanning the fibers and rings of local tree species, the work seeks to play the wood surface as if it were a broken record, capturing traces of its internal geometry and transforming them into acoustic signals.
These signals are then processed by an artificial intelligence model trained on a local sound archive. The AI interprets them as incomplete vinyl inscriptions, material residues that can be computationally reassembled to evoke speculative resonances between the vegetal environment and the region’s cultural sound traditions.
The resulting audiovisual sculpture takes the form of a modular robotic system: a network of wooden and metal elements integrating scanning mechanisms, acoustic transducers, speakers, screens, and algorithmic interfaces. Functioning as both instrument and listener, it operates as an embodied system of memory, where vegetal, mechanical, and computational agencies converge to render matter audibly alive.