s-olo-s

Vuoto is performed on natural skin drums and hihat. It was first performed as an open composition in Piedicavallo Festival (IT) on August 20th, 2022. It became a text score on October 25th 2024, and was presented in this form at Akut Festival (Basel, CH) on November 18th 2024. Vuoto took its shape while also ImprovisationIsAsASocialPractice was taking shape, and I see them as two sides of the same coin.




artkane is an ongoing investigation on a set consisting of drumset, mixer, volume pedal and microphones. It is reconnecting the acoustic practice of the last years with the use of electronics I did extensively until 2021. It’s probably part of a process of reintegration of different practices, which all reflect a same attitude to some kind of sound-appetite. artkane got its first public performance at Musik-Akademie Basel in June 2024, and was performed twice in Buenos Aires (AR) in August 2024, at Ciclo Campo Cercano and Espacio Panorama.

IAASP is a performance/practice method with diverse lenghts.

Its first realisation lasted one year, and happened almost weekly since may 30th 2022 until may 30th 2023.
It was a serie of solo sets with different durations: from 4 sets of 20 minutes each, until one set of 2 hours in a row. The task of my playing was: play as fast as possible, as soft as possible. It has been a study on how to integrate the instrument in the environment and vice versa; how to be present; how to be see and how to be unseen.


It is pushed by the necessity of taking

my own artistic research in the outer world,

trying to untie research processes

from isolation and sealed rooms

by bringing
 them
in public places

around the city.


The research on rhythm and timbre in the drum set melts with rhythmical and timbral research in the land/soundscape.

The focus of this research is the comprehension of macro and micro structures that intersect and overlap into a precise space-time. By perceiving this different structures and their interaction, the instrumental practice is aimed at being able to decode them and make them explicit.
The sounds produced with the instrument integrate with the sounds of the surrounding environment, merging with them and not overcoming them, creating a living system in which the instrument becomes part of the environment and the environment becomes part of the instrument.