Gianluca Iadema (b. 1996, Italy) is a composer, visual artist, and performer working with a transdisciplinary approach to music, video, and installation. His research seeks a synergy where each discipline is enriched and more fully realized through its operational relationship with others, finding a formal synthesis in transmedia works.

Through a conceptual lens, Iadema treats technological apparatuses as a plastic substance, tracing within their imperfections the threshold where the object sheds its primary function to reveal its material concreteness. Within this divergence, the artist identifies latent potentialities, viewing matter as a repository of inscribed memory: objects thus become sites of inquiry where speculative narratives overturn conventional meanings. Drawing inspiration from the reflections of philosopher Karen Barad, Iadema employs a diffractive action that dismantles the integrity of the technical and technological apparatus.

By intervening in the structure, the artist isolates individual, often invisible components, treating them as autonomous compositional matter. In this process, the object’s historical trajectory and its subsequent modifications are not static data, but living interferences.

Inverting the analytical trajectory, Iadema does not start from certainties; instead, he reconstructs the conditions and procedures that might have generated them, formulating plausible scenarios between the micro and macro scales. In this way, functional logics are transposed into narrative forms, reconfiguring technique as an expressive construct. The work does not merely display the object but activates its temporal and semantic potentials through its very re-elboration. Within this framework, transmedia work acts not as a simple medium, but as a form of thought that shapes narratives grounded in a scientific-speculative logic.

In terms of sound, these constructs manifest through the abstraction of diverse musical styles, such as techno, glitch, and pop, merged with contemporary classical concepts. Visually, this logic inhabits the threshold between tangible textures, such as concrete and cracks, and the fragmented, broken liminality of digital point clouds. These converging imperfections become a generative force: an access point that renders the surface flexible and unveils the hidden dimensions of the object.

Gianluca Iadema 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, and exhibited at major international festivals, institutions, and exhibition spaces including Schallfeld Ensemble (Graz, 2018), Nasimi Festival (Baku, 2018), Halle für Kunst Steiermark (Graz, 2018), ZKM | Center for Art and Media (Karlsruhe, 2019), Wien Modern (Vienna, 2020), Fondazione Recontemporary (Turin, 2022; 2024; 2025), Seeyousound Festival (Turin, 2023), Klang Festival (Copenhagen, 2023), Teatro Grande / Festa dell’Opera (Brescia, 2023), Suburbia Contemporary / LOOP Festival (Barcelona, 2023; 2024), Zone Digitali (Bergamo, 2023), ICTAF – Investec Cape Town Art Fair (Cape Town, 2024), Suburbia Contemporary / Barcelona Gallery Weekend (Barcelona, 2024), Future of Humanity Art Walk at WEF (Davos, 2025), Milano Design Week (Milan, 2025), Berman Contemporary (Johannesburg, 2025), KUKAV – Animation & Installation Biennial (Tuttlingen, 2025), Ibrida Festival (Forlì, 2025), HEK – Haus der Elektronischen Künste (Basel, 2025), CICA Museum (Gimpo, 2025), MA/IN Festival (Matera, 2026), OMMFA / London Design Week (London, 2026), Texas A&M University (Texas, 2026), TEXNEO NOVUM Festival – Museu de Arte de Blumenau (Blumenau, 2026).
He is the winner of international prizes such as the Franz Schubert und die Musik der Moderne (Graz, 2020) and SISS – Emerging Talents in A/V (Lecce-Trento, 2026), as well as the recipient of the prestigious Giulio and Giulio Bruno Togni Prize (Brescia, 2020) for his promising artistic career.
In 2019, he released his first album Aphàiresis for the 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, Forbes Italia and Esquire Italia. His works are held in public and private collections such as Stefano Cecchi Trust Collection, Fondazione Recontemporary and Aldo Colella Collection, among others.