EMILIANO ZELADA



RUNNING //// FORTHCOMING





17-20 September, 2014
HELICOTREMA
Viafarini / DOCVA, Milan, IT
http://helicotrema.blauerhase.com


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24 July - 7 September, 2014
This morning...
Emiliano Zelada with a video by Francesca Banchelli
McAulay Gallery, TATE Modern, London, UK
open daily / free entry

www.tate.org.uk/whats-on/tate-modern/





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April 1-30, 2014
Sound Corner 12 - Emiliano Zelada
Auditorium Parco della Musica, Rome, IT
presentato da Alberto Fiore
Games, 2014
7'04''





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saturdays and sundays all throughout 2014
A wild chase at TATE Modern, London


www.tate.org.uk/whats-on/tate-modern/wild-chase-emiliano-zelada






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December 19, 2013 - January 9, 2014

A encruzilhada - collective exhibition curated by Expedição at Maus Hábitos, Porto, PT
with José Alberto Gomes for the Tape Series

"Sempre levei na bagagem muito pouca coisa"





GAMES 2014 Sound Corner - Auditorium Parco della Musica, Rome, IT



sound
7m04s

Fin dai primi lavori di Emiliano Zelada il suono, in relazione all’individuo, gli spazi costruiti e naturali, è il “materiale” alla base della sua ricerca. Per il Sound Corner presenta l’opera Games in cui la sola traccia sonora è “materia” del lavoro.
Nel 2010 WikiLeaks pubblicò un video girato tre anni prima da un elicottero Apache statunitense in un attacco a Baghdad in cui rimasero uccisi dei civili. Le richieste di permesso per fare fuoco e i commenti a freddo dei soldati sulla scena lasciano allibiti.
Ciò che sentiamo in Games è un dialogo fra due ragazzi in lotta, ma il tono è eccitato e divertito. Si tratta di una registrazione fra due giocatori durante una partita a un videogioco online. Alla base di Games vi sono le relazioni che si trovano fra la traccia audio di questo momento di gioco virtuale con parti del video di vita reale pubblicato da Wikileaks. A questo punto il nostro ascolto prende un altro tipo di coscienza. Possiamo considerare questo lavoro secondo due possibili e opposte analisi riguardanti il nostro rapporto con la realtà, reale e virtuale. Una realtà alla cui forma, oggi come non mai, vi partecipano computer, internet e videogame.
Da una parte Games può essere un invito nel porsi domande sull’effettiva veridicità dei fatti appresi dalle fonti disponibili, nel tentativo di un’auspicata ricerca di vera coscienza del presente. Dall’altra evidenzia le preoccupanti possibili tangenze fra realtà e virtualità e come il binomio sia presente negli aspetti sociali.
“La nostra tecnologia elettrica ha profonde conseguenze sul nostro normale modo di percepire e di agire. Queste conseguenze si verificano nella vita sensoria quotidiana, che crea i vortici e le matrici del pensiero e dell’azione.(1) Games lavora sulla non definizione fra ciò che è reale e simulato, sulla possibile e allarmante identificazione del virtuale nel reale e viceversa. Dal momento che “i videogame sono qualcosa che si fa, un mondo in cui si entra e […] qualcosa che si diviene”(2), gli effetti derivanti da alcune tecnologie possono portare allo sconfinamento del confine fra realtà e virtualità con la derivante “deprivazione sensoriale che spesso si tramuta in un vero e proprio primitivismo percettivo.”(3)


Since the early works of Emiliano Zelada, sound, in relation to the individual, the natural and built spaces, is the “material” at the base of his research. For the Sound Corner he presents Games a work in which the soundtrack is the only “matter” of the work.
In 2010, WikiLeaks published a video filmed three years earlier from a U.S. Apache helicopter during an attack in Baghdad, in which several civilians were killed. The requests to open fire and the cold comments of the soldiers in the scene are shocking.
What we hear in
Games is a dialogue between two battling guys, but the tone is excited and amused. This is a recording between two players in an online game. In Games we find connections between the audio track of this moment of virtual gaming, with real-life parts of the video published by Wikileaks. At this point, our listening takes another type of consciousness. We can consider this work with two possible and opposing analyses concerning our relationship with reality, both real and virtual. A reality in which, today as never before, we see the participation of computers, the Internet and video games.
On the one hand
Games can be an invitation to formulate questions on the actual veracity of the facts learned from the available sources, in an auspicated attempt to search for a true consciousness of the present. On the other, it highlights the worrying possible tangencies between reality and virtuality and how this combination is present in the social aspects. “Our electric technology has profound consequences on our normal way of perceiving and acting. These consequences occur in the daily sensory life, which creates the vortices and the matrices of thought and action.”(1) Games works on the non-definition between what is real and simulated, and on the possible and alarming identification of the virtual in reality and vice-versa. Since “video games are something that you do, a world in which you enter and [...] something that one becomes”(2), the derivative effects of some technologies may lead to the encroachment of the border between reality and virtuality with the resulting “sensory deprivation that often is turned into a real perceptual primitivism.”(3)

Alberto Fiore


1. M. McLuhan, La galassia Gutenberg. Nascita dell’uomo tipografico, Armando Editore, Roma 2004, p. 58
2. S. Turkle in G. Pecchinenda, Videogiochi e cultura della simulazione, Editori Laterza, Bari 2003, p. 98
3. Ibidem, p. 150

IN A CENTURY 2013 13th Istanbul Biennial - official parallel event - at torna, Istanbul, TR



A young man who only spoke the truth, 2013
prepared vinyl of Yuri Gagarin's first flight to space, self-rotating record player with incorporated speaker
loop









The distance at which we see each other, 2013
colored velcros
210 x 45 cm each
















LXRX liaison vision split 2013 Helicotrema, RAI Radio 3, IT





left channel: volcanic ash samples from Eyjafjallajökull eruptions
right channel: seismic frequencies of the Etna’s activity

What would a conversation between two volcanoes sound like? and what if they were talking about shaping matter? how close to sculpture can this be? Is it, by defining the landscape of the world or emerging for a breath of fresh air? What are we listening to and what do the scientists at the CNR of Catania and the ones at the IFM – University of Linköping expect from frequenting these (audio) pieces. The liaison only takes place several thousand meters below our feet, so let’s talk about sculpture.

A WILD CHASE 2013 TATE Modern, London, UK



Emiliano Zelada is the first artist invited to form part of the Sonic Trails commission series presenting a work that deals with TATE Modern's whole architecture. Inspired by Gaston Bachelard’s The Poetics of Space (1958), he introduces the spontaneity of nature into the geometrism of architecture - intended as empty volumes. The use of constructed space and sound of animals, leads to an act of presence rather than the establishment of such elements. In each Level the visitors will find its corresponding outside environment, only to discover it as an abstract geo-physical distribution that goes from un-heard sounds of whales and stars to the broad spectrum of endangered animals.

http://www.tate.org.uk/whats-on/tate-modern/daily-activities/wild-chase-emiliano-zelada


MAIN'S MOVEMENT 2012 Frankfurter Kunstverein, Frankfurt am Main, D




excerpts

The work was realized specifically for Francesca Banchelli's performance and video The Sunshine Vineyard (Our ideal revolutionary Storm) for her Deutsche Börse Residency Program at the Frankfurter Kunstverein, Germany. Taking into account the battle against the "Big Unknowns" at the core of the performance.

TI SCRIVERÒ DA UN'ALTRA PARTE 2012 CIAC - Centro Internazionale Arte Contemporanea, Rome, IT












alcantara®, cellulose acetate, wood, 5 speakers, sound of stars*
variable dimensions

*courtesy of Jon Jenkins - NASA Kepler Mission



The work was originally realized for the Derive (Adrift) collective exhibition curated by Alberto Fiore and Angel Moya Garcia. Taking the night as the originating adrift, a point apparently fixed in the sky is revealed as a sonic production. Stars are usually taken into consideration for their visual component; within this work they establish a sign, a point, which starts and ends in the emitted sound. Sound comes from behind the alcantara, which was used to visually flatten the space's vanishing points, and at the same time returning depth through sound.

THE SOLEMN GEOGRAPHIES OF OUR LIMITS 2011 CONA - Institue for Contemporary Arts Processing, Ljubljana, SI



north american and arabian peninsula wolves sounds
interior/exterior


excerpt

Conceived for the Radio Arts Space exhibition and radio broadcasts, this work is centered on language and its geographic implications and communication effects. The sound of a North American Wolf and that of an Arabian Peninsula Wolf are played aloud. The supposed introduction of new species in the European continent would be dealt by the local packs by using their own communication parameters. Original principles of our society’s structures are similar to wolves’ behavioral laws (inside aspect) within a broader geographical territory (outside aspect).
Language is one of the consequences of the presence and its contrary, not working as a referential delimitation of the territory, but reinfocing the natural statute of being in any geographical space.


curated by: Tevž Logar, Maria Papadomanolaki, Milica Pekić, Manja Ristić, Robert Sakrowski, Ilaria Valbonesi, Brane Zorman
produced by: CONA Institute for contemporary arts processing
partners: KIOSK Contemporary art platform (SRB), NRBG Novi Radio Beograd (SRB), Zerinthya RAM LIVE (IT)
radio listening rooms: radioCona, Novi Radio Beograd, RAM Live Roma, NAWG New York, Roma Radio Art Fair Roma, CoLaboRadio Berlin
supported by: European Cultural Foundation ECF, Ministry of Culture of Republic of Slovenia, Goethe Institut, Austrian Cultural Forum,
JSKD (Republic of Slovenia Public Fund for Cultural Activities), ŠKUC Gallery Ljubljana, RTV SLO transmitters and communications

A PERFECT CRIME 2011 Copenhagen Place, London, UK



Francesca Banchelli | Emiliano Zelada - two solo exhibitions










Individuating the missing volume created in the action of a hypothetically perfect crime, the presence of an object’s sound when revisited in another context, decentralizes the natural position of the object itself. Time does not march forward here; rather, it has come to stall in a repeating thud of the mechanism of a tennis ball machine whose contents have long-since emptied. Thus sound enforces the autonomy of the perfect crime through the object’s function; a reality in which the crime is suddenly – uncannily - close to home.






















ZELADA PLAYS WHILE BALDESSARI SINGS LEWITT 2011 Teatro Valle Occupato, Rome, IT



MENDING A TATTERED WISH LIST 2011 Accademia e Conservatorio di Santa Cecilia, Rome, IT



ficus benjamin, poplar wood, violin bow, sensors, sound
variable dimensions



The work constitutes a new scenario starting from the function of the place. Re-examining the corridor that goes from the Conservatory to the Academy of S. Cecilia using plants and sounds of birds, the installation doesn't regard only space, but makes it so that our actions have an effect on an unknown geography. When first stepping into the given section of the corridor we hear the flapping of wings of a flock of birds taking flight (activated by spectators through ultra-sound sensors), suggesting that the space is in-habited. The immateriality of sound gives life to an imaginary spatiality, different from where we are.
























BERTHOLD!* SPACE IS NOT THE SUBJECT, NOR IS THE WORLD IN SPACE** 2011 FOLIO magazine

Berthold!* space is not the subject, nor is the world in space**
scanned paper reprinted on the same paper

By scanning blank pages of the same paper used to print the magazine and reprinting them on it, I’ve made the least of possible visual interventions. The sound made with the paper of the magazine, while turning the pages or simply holding it on a windy day is an overlapping production of sounds upon gestures - a simple instrument with an inscribed composition.

∗ Brecht, Berthold: 1898 – 1956, Poet, playwright, and theatre director.
∗∗ Heidegger, Martin; Being and Time, 1926. English edition 1962.

www.magazine-folio.com


AQUI, ONDE O MAR SE ACABOU E A TERRA ESPERA* 2011 Casa da Música, Porto, PT




masking tape, light sensors, sound
1250 x 470 cm

in collaboration with composer José Alberto Gomes

Masking tape allows to neutralize some architectonic fragments that will remain intact and surrounded in recognition from any other interventions. The use of tape within this work goes onto originating a visual and acoustic independent entity through erasure, thus the glass’s space generates its own dimension, which no longer is the intermediary between interior and exterior, but will transit the sonic dimension of natural circumstances altering the unwanted scenario.
Sound is generated by the amount of light captured by sensors placed in different points of the work; diverting from the function of certain materials such as the masking tape, and expanding the enquiry of the politics of the gaze into the realm of time.
A non-space that originates where the in-between sounds are found, triggering possible official structures in the expansion and generative process of margins and levels; where the tension formed between the actual and the potential are found.

* Saramago, José; O Ano da Morte de Ricardo Reis, 1984, Ed. Caminho, Portugal.




















photos: Mariana Gomes

DISCURSO SOBRE A ORIGEM DA DISIGUALDADE.* AS CASAS VOS ESPERAM 2011 Espaço Ilimitado, Porto, PT




Discurso sobre a origem da desigualdade*. As casas vos esperam.

sanded wood floor, portuguese slate, masking tape, metal figures, a key, light sensors, guitar amp, bass amp, sound
70 sq/m

in collaboration with composer José Alberto Gomes

The feeling of instability, be it real or fictitious, is followed by changes affecting our physical positions as well as the aesthetic perceptions of the world. The exhibition takes the name from Jean-Jacques Rousseau’s writing Discourse on the Origin of Inequality conjugated with the interposition of a thought, where the intervention is the symptom of a path that accompanies the historic moment.

Dealing with the whole gallery’s space, the investigation of what would originate a potential future or an “already shaped” present being, is constructed starting from certain structural “aspects”, each of them taken from their individual perspective; the floors, the windows, passages and doors, the stairs, all components of basic architecture are re-proposed in the state of a process supported by the sound deriving from the natural light changes. Thus sound measures time; a time apparently left waiting, frozen in the keyhole of a door.

* Rousseau, Jean-Jacques, 1755, De l'Inégalité parmi les hommes, Gallimard, Paris.


































-nt_rpr_t t-v_ COMPOSITIONS 2007-11







On air, Archi and Fitting, 2010





On ice, 2010



all are 50 x 65 cm
china ink on japanese paper

The Interpretative Compositions are born from the necessity of transmitting a direction to certain sounds. Working with live microphones interaction, ultrasounds, or electric instruments has pushed me to establish a method of composition that takes place in drawing; without breaking the architecture of music and dealing with the space. These works are to be seen/read as scores, leading to a free interpretation of whomever depending on the instruments used.


DEATH IS OUT OF BREATH (CHASING ECHO) 2010 private collection, Tuscany, IT




lexan, wood and echoes
3 Km sq. area approx. / 6 x 2 m and 6 x 1 m panels
private collection

This was a commissioned work to be focused on memory. Several panels of Lexan, a material that reflects UV rays and commonly used in greenhouses, were employed in this vineyard of Tuscany to direct sound. Making use of the morphological conformation of the land, the panels allowed me to convey sound towards the center of the valley between two hills; exalting the already existing resonating conditions in order to obtain a series of short combined echoes. Thus sound becomes an apparition, where the spectator follows its own voice through the surrounding ambient.










SILENT COLLAPSE 2010 Ingreso Pericoloso, Rome, IT




Taking and at the same time giving the name to a solo exhibition, this work is part of the Interpretative Compositions series. On the day of the vernissage it was musically interpreted by Giulia Cozzi at the flute and José Alberto Gomes at the electronica. While on the day of the finissage there was an interpretation by brazilians Bruno Lima and Pedro Vita respectively playing the clarinet and percussions.




SUBSTANTIVE DERIVATIVE 2010 Ingreso Pericoloso, Rome, IT









iron, wood, enamel, sound, firewire camera, Max/MSP on Mac

When too many individuals saturate the installation space with their presence, sound boosts to extremely loud levels, causing the visitor to leave. Once harmony (space saturation) is re-established, sound goes back to a pleasurable experience.
The three sculptural elements are disassembled stairs, architecture’s primary instrument to vertically build; therefore they constitute the structure of a building as well as the architecture of the interactive instrument, constricting people’s movement inside the room.

The Max/MSP programming and sound were made possible thanks to the collaboration of José Alberto Gomes.














photos: Daniela Pellegrini






TOTEN remix 2010 Storung Label, Barcelona, ES



audio excerpt



CD - Storung Label
sound 4m13s

re-mix of the song toten originally created by retina.it and released under the Storung Label.


FUTURE FORECAST OF A FORESEEABLE PAST 2009 Ingresso Pericoloso, Rome, IT
















audio excerpt

acrylic on walls, ceiling and floor, sound
420 x 280 x 420 x 280 cm / 5m02s loop

This work it’s a reflection on history and its walls, from Troy, Rome, The Great Wall of China, The Berlin (20 years after the fall) and Palestinian Walls and the most recent ones being built around some favelas in Rio de Janeiro. History repeats itself in cycles, as is first mentioned by Polibio and then by Machiavelli in the anakyklosis theory. While sound refers to everyday gestures, with little emphasis, the mind is constantly been reminded of the participatory presence of the wall - even if it’s not always visible.

THE UN-HEARD STORY OF A WHALE SOCIETY 2006-10 CCCB - Centro de Cultura Contemporanea de Barcelona, ES - among others





contact microphones, Max/MSP on Mac, sound, completely dark room
variable dimensions and audio channels / 9m27s interactive loop


Being surrounded by sound and in complete darkness, listeners are put in the position as if they were swimming in the middle of a group of whales. Every channel of the composition represents one whale and is constantly re-located by the sound generated from the people’s movement in the room. The condition of orientation loss, caused by the interference of the LFA Sonar on cetaceans in the ocean, will be given back to those who have generated it, leading the listeners to presume disorientation/death.
The interest rose some years ago when reading about a whale lost in London’s Thames River. Further investigations lead to finding out about the experiments that the American NAVY and NATO do with the Low Frequency Active SONAR, used for National Defense to scan the Oceans with low and mid frequencies. This interactive installation is based on the sounds emitted by the Beaked Whales (a species particularly affected) during location, migration and foraging stages; and the sound interferences produced by men in the Oceans, also known as anthropogenic sounds. Thanks to the recorded material given by the “Whale Acoustics” an agency working in collaboration with the Scripps Institution of Oceanography, the Cascadia Research and the help of the NOAA – National Oceanographic and Atmospheric Agency of the U.S.A, I was able to study the habits of the whales and the effects of the Sonar. With this work I want the listeners to feel disoriented and without references, putting them into an analogous situation as the one suffered by this species of whales.


ECLECTRIC FAUNA 2009 dello Scompiglio, Lucca, IT









acrylic on nautical wood - 140 x 100 cm each side
3 microphones, Korg Kaoss Pad, NI Reaktor 5 (live)

Three microphones positioned in the pond's surrounding area captured sounds of frogs, salamanders and birds of several species protected by the Italian National Forest Guard.
This act followed the concept of the Interpretative Composition, where I wanted to establish a dialogue with the animals and their surrounding space. Using direct field sounds with some electronic interventions, I sent the incoming sounds of the species back to them, it was interesting to see how the frogs answered back establishing some sort of communication that would increase or decrease depending on loudness and to how similar to their verses my output would be. Nature and electricity together, in the search for new forms of harmony.
The Interpretative Composition with the same name was realized during the artistic residency "Incontri d'Armonia / Harmony Encounters" at the Tenuta dello Scompiglio, Lucca (Italy) and the live was executed during the European Day of Music on June 12, 2009 in the same place - see video excerpt.

14'36''ca 2009 several locations


contact microphones, Korg synth, looper, harmonica, chords and performed movement
14m36s ca.

Juan Carlo Castillo and Emiliano Zelada

sH 2008 Disonancias, Vizcaya, ES








Filipe Merem - architect
Emiliano Zelada - artist

This project is a collaboration between me and Brazilian architect Filipe Merem. sH is centered on diminishing the sound impact on highly populated places of the city to improve people’s quality of life. The project was presented for Disonancias - Art for Innovation, it is based on the use of small modules displaced in a defined public area in order to diffuse and scatter sound, instead of using only few but big elements that would have a bigger visual impact and provide only certain satisfaction. We have divided it in two parts; the main one is the “White Area” and is focused on separating the acoustical pollution of the traffic from a socially active place. While the second part is an artistic license we have taken in order to make people more aware of the sounds that surround them, thus creating a “Listening Point” inside the same square/park, directing sounds towards the center of the point.

SHALL WE? 2007 Auditorium Parco della Musica, Rome, IT




audio excerpt




sound installation

To increase the importance of the act that spectators are about to see/listen and make it so that vane conversations are left behind and not taken into the auditorium, is the purpose of Shall We? A sound installation in three parts for Renzo Piano's Auditorium Parco della Musica of Rome where sound doesn't permit a conversation in the corridors before getting into the concert hall, conducing the individual to disrupt from reality, and to get into the musical world.

CO. PROCESO 2007 Institut del Teatre, Barcelona, ES - among others



XXI Certamen Coreografico de Madrid
laptop, contact microphones, neon, and performed movement


Juan Carlo Castillo, Pilar Torras and Emiliano Zelada

mag|nesia PROJECT 2004-07 MACBA - Museo de Arte Contmporaneo de Barcelona, ES - among others



live at SONAR 2007 - by day - MACBA Sonar Complex

audio and video performances of
Jonathan Pannacciò and Emiliano Zelada

Untitled (3500cm2) 2006 27th Biennial of Graphic Arts Ljubljana, SI - among others



monochrome poster
70 x 50 cm

3500 cm2 is a project curated by Lorenzo Benedetti which refers to the dimensions of a poster at the disposition of an artist to create an artwork. Several hundred copies of each poster, distributed free of charge to the event's public, are thus diffused throughout the city, continually creating new "spectators/collectors" of art. The project develops in two coordinates: uniqueness (a work created specifically by the artist for the occasion) and repetition (multiplying the work for everyone who attends the event). While it was my first major approach to composition for the spacialization of sound, going further and deeper than the established space.

DISPLACEMENTS 2006 Filament Recordings, Bristol, UK



Audio CD / mp3 - 12 tracks
Creative Commons

One of experimental electronic music's best moments is realized in the sound constructions of Zelada. His Displacements album contains twelve tracks of constantly changing minimal harmonies, blending smooth tones and grainy fragments into a continuos whole.
Larry Johnson, EARLabs

free download of full album or single tracks

HISTORY WILL JUDGE US 2005 Open Video Projects, Rome, IT





video and sound
7m5s

TELEPHONE F 2004 RAM-Zerynthia SoundArtMuseum, Rome, IT








BUTTERFLIES ON A RAINY DAY 2004 RAM-Zerynthia SoundArtMuseum, Rome, IT








DROPS OF LIGHT 2004 RAM-Zerynthia SoundArtMuseum, Rome, IT








ENDLESS SORROW 2004 RAM-Zerynthia SoundArtMuseum, Rome, IT



Audio CD / mp3 - 12 tracks
Creative Commons

One of experimental electronic music's best moments is realized in the sound constructions of Zelada. His Displacements album contains twelve tracks of constantly changing minimal harmonies, blending smooth tones and grainy fragments into a continuos whole.
Larry Johnson, EARLabs

free download of full album or single tracks




studio@emilianozelada.com