HackTheSystem
open call
International open call for sound artist
5th edition – deadline 31th march 2026
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
Hack the System ***
Hack the System / Freedom / The Landscape as Resistance
The landscape, in its sonic dimension, is today a field of tension and possibility.
We live immersed in systems that codify, filter, and archive every form of experience: data, sound, image, identity. But every system — natural, political, or digital — can be hacked: forced, opened, rewritten.
In this perspective, the landscape is no longer just a backdrop, but a practice of freedom, an act of resistance that manifests itself through listening, care, and creative disobedience.
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
The focus **^^
LANDSCAPE 2025/26 invites artists to question the very concept of freedom — of expression, movement, and thought — as a sensorial and environmental experience.
Freedom understood as the rupture of systemic noise, as ecological regeneration, as the possibility of redefining the relationships between humans, technology, and nature.
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
Arguments ###
symptoms of a shifting landscape
Artificial intelligence, open data flows, acoustic ecology, and the climate crisis become both tools and symptoms of a shifting landscape.
The artist is called to become interpreter and witness of this transition, shaping through sound an emotional and political cartography of the contemporary world.
An invitation, therefore, to hack the system of listening itself: to rediscover within global noise a new language of freedom.
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
Timeline ***
TIMELINE
Call opens: November 15, 2025
Deadline for submissions: March 31, 2026
Official jury results: May 2026 (unless postponed for technical reasons)
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
AWARDS ^^^
- 1st Prize: €500 in cash + software bundle from Apesoft https://www.apesoft.it/ and Aqusmatiq (Apesoft is a software house that develops experimental synthesizers, granular processors and sound-manipulation apps for iOS, macOS and Windows.)Aqusmatiq creates innovative audio effects for sound designers and producers, such as Dedalus Delay and Maxhead, designed for experimentation, sound design and advanced music production.
- 2nd Prize: Software Package by Apesoft and Aqusmatiq + a second set of instruments (Max for Live) created by the sound designer Remo De Vico
(list of the max for live devices: Bipolar Sampler, Cassette Tape, Fibonacci, Fractabeats, Generative, Great Mapper, Loop Paradox, Matrix Synth, Noise Map, Saturn Spectral Delay, Tetraligeti, The Caterpillar, Trismegistus Sequencer, Vector³, Xenaxizer, Yoda Sampler).
- Special Selections: Among the ten finalist projects, one of the works will be presented at the Portobeseno Festival (September 2026) in the form of a performance and/or installation – while a second work will be selected for the 2026 edition of the “Paesaggi Sonori” Festival, a third one will be selected for the “Acusmatiq/Torpedine” Festival.
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
Evaluation ###
EVALUATION
Works will be evaluated by a jury of curators, musicians, and journalists active in sound art and contemporary electroacoustic music.
The evaluation criteria include originality, sound quality, consistency with the theme, and the capacity to create an immersive and meaningful listening experience.
The names and bios of the jury members are available at: https://collettivozeugma.it
LANDSCAPE 2526 is an International call for sound artists and electroacoustic composers
Curated by Zeugma
REQUIREMENTS & SUBMISSION GUIDELINES
Open to sound artists, electroacoustic composers, and authors of “experimental” music of any nationality and any age.
Submitted works must:
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Be unreleased, otherwise excluded.
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Be sent in WAV or AIFF, 44.100 kHz / 16-bit (uploaded first to your cloud and shared via link in the official submission form).
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Be submitted through the official form available on https://collettivozeugma.it, including the release form authorizing the use of the work for the call.
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Include a project / live / installation abstract:
Along with the audio track, a short text is required describing a possible live performance and/or installation related to the work. This helps the jury evaluate artistic relevance and feasibility for Portobeseno Festival.
☆Participants may submit more than one work, by paying the fee for each track (€15 per submission).
☆ A registration fee of €15 per submitted work is required.
☆Some institutions and students are entitled to a discount or coupon code. Teachers may request a dedicated discount code for their class or institution.
The Landscape2526 Selection Committee
Caterina Tomeo is an art historian and combines her research activity with a critical and curatorial practice. She deals with Contemporary Art with particular interest in interdisciplinarity and research in the field of New Media Art and Sound Art. She is director of the MAD in "Multimedia Arts and Design" at RUFA - Rome University of Fine Arts, where she is also Academic Council Representative, lecturer in Contemporary Art and New Media, History of Electronic and Digital Art, Digital Video. He teaches Multimedia Arts, Electronic Music and Music Festivals in the Master of "Economics and Management of Art and Culture" at the Sole 24 Ore Business School in Rome. He is lecturer in the Master of "Management of Art and Cultural Heritage" of Giunti Academy - School of Management.
Since 2021, he has been teaching in the Master's program in "Sonic Arts. Technologies and Arts of Sound" at the Tor Vergata University of Rome. She has been Art Director of the Arts & New Media section of Spring Attitude Festival. She currently collaborates as curator with international festivals dedicated to electronic music and contemporary culture. She founded the Sound Studies Forum, the first research network on sound studies in Italy, in collaboration with the University of Urbino. He is Art Director of the "Sound Box" at the Mattatoio in Rome. Recent publications include Sound Art. Listening is like seeing, Castelvecchi (2017); Sonic Arts. Tra esperienza percepettiva e ascolto attivo, Castelvecchi (2019). The new volume Electronics is a Woman. Indeed trans-feminist will be published by Castelvecchi in March 2021.
Since 2021, he has been teaching in the Master's program in "Sonic Arts. Technologies and Arts of Sound" at the Tor Vergata University of Rome. She has been Art Director of the Arts & New Media section of Spring Attitude Festival. She currently collaborates as curator with international festivals dedicated to electronic music and contemporary culture. She founded the Sound Studies Forum, the first research network on sound studies in Italy, in collaboration with the University of Urbino. He is Art Director of the "Sound Box" at the Mattatoio in Rome. Recent publications include Sound Art. Listening is like seeing, Castelvecchi (2017); Sonic Arts. Tra esperienza percepettiva e ascolto attivo, Castelvecchi (2019). The new volume Electronics is a Woman. Indeed trans-feminist will be published by Castelvecchi in March 2021.
Elena Ghigas (pseudonym of Elena Gigante, March 26, 1984) is an Italian sound artist and electroacoustic composer. She also holds a Ph.D. in Neuroscience and is a psychoanalyst and psychotherapist with a Jungian orientation, as well as a member of the International Association for Analytical Psychology (IAAP). She teaches Sound Space Design at the Academy of Fine Arts of Bari and Phenomenology of Art at the Italian Center for Analytical Psychology (CIPA), a postgraduate training institute based in Rome.
Her anti-spectacular research explores the relationship between sound, brain, and psyche.
She is drawn to imperfection, indeterminacy, and the fragility of “dirty” sounds, and conceives listening as a liminal process between the audible and the unheard. On this topic, and its variations, she has published three monographs (Bollati Boringhieri 2024, Mimesis 2021, Moretti & Vitali 2018) as well as numerous scientific articles.
She began studying music at the age of five. After graduating in Piano, she continued her musical research independently, meeting composers such as Mauro Lanza, Francesco Filidei, Andrea Agostini, Du Yun, Anthony Braxton, Stefan Prins, and many others, through extra-academic paths. Her compositions have been selected and awarded in numerous international festivals, including: Darmstädter Ferienkurse, Neue Musik in St. Ruprecht (Vienna), Sincronie Headscape (Milan), Tempo Reale (Milan), MA/IN, Quadriennale di Roma, Re-fest, The New Museum of Networked Art, Prix Russolo, Landscape24, Urticanti, Paysages Composés (Grenoble), EviMus (Saarbrücken), Sound/Image (University of Greenwich, London).
She has created sound installations in unconventional contexts — including inside an MRI tube — generating unexpected listening experiences.
Recently, she took part in a project on spatialized sound at the Inter Arts Center of Lund University in Malmö, and was selected by the historic music research center Agon for the production of a radio film.
Born in Cosenza, he graduated in Literature, Music and Performing Arts from “La Sapienza” University of Rome, with a thesis on Luciano Berio supervised by Prof. Antonio Rostagno.
Other significant study experiences include seminars and masterclasses with Francis Dhomont and Mario Bertoncini.
Other significant study experiences include seminars and masterclasses with Francis Dhomont and Mario Bertoncini.
In 2013 and 2020, he was a finalist of the Phonologia Prize, an international competition dedicated to acousmatic music, held at the San Fedele Cultural Center in Milan.
He composes music for cinema and has taken part in major independent film festivals, including the Rotterdam Film Festival and the 33rd Torino Film Festival.
In 2024, his music was featured at the Cannes Film Festival, in the “Semaine de la Critique” section, with the animated short film SuperSilly.
He has written several theatre soundtracks and participated in major festivals such as “Primavera dei Teatri,” “Teatri del Sacro,” and “Pim Off Prize.”
He has performed at notable festivals such as AngelicA – International Music Festival in Bologna, #Wallofsounds in Palermo, and Noise Delivery in Turin.
Since 2017, he has been running a YouTube channel, producing a wide range of content including musical works, soundtracks, sound libraries, and software developed with Max/MSP.
Besides using her voice and analog electronics, Barbara loves collecting sounds, inventing sound textures and non-linear storytelling. In 2009 she published as a soloist Anti-Gone, a concept album inspired by the figure of Antigone. In the same year she began a collaboration with canadian cellist Julia Kent : Parallel41 a musical/visual/improvisatory project published in 2012 by the french label Baskaru. Her sound works include Whimsical Cartography -in commemoration of the earthquake in Irpinia; Re_di_Sound , a tribute to Marcel Duchamp (Call for Revolutionary Sounds) and Crossings for Radia Network (Radio Papesse).
She has also curated a series of podcasts entitled "The Cat Cinderella" with the aim of promoting the dissemination of works by women artists on the brink between net_art, sound art
and audio documentary. At the end of 2012 she started to collaborate with french visual artist Aude Francois: they conceived Self Made Worlds a performance for voice, electronics, and visual explorations [liberally adapted from ”House of Incest” by Anaïs Nin]: a dialogue between the organic body depicted in video and the sounds and voices present on the stage. Her new solo album Body Maps {out on december 16th 2022 on Folderol Records} has been inspired by Jean Luc Nancy’s Corpus. A blend of spoken word, electroacoustic textures and instruments, found sounds and voice; these tracks evolved from a series of improvised recording sessions held in Italy between 2018 and 2021. Barbara is working on a new project making use if rediscovered private memories [old photographs, letters from strangers, sounds of objects no longer in use, semi-forgotten nursery rhymes, etc] .
The list of her collaborations include: sound and visual artists Leonardo Rosado {together they realize Viseu Aural Chronicles audio-visual residency project commissioned by Festival Jardins Efemeros _Viseu_Portugal} Mark Walters; Roland Quelven; Julia Kent; Marco Messina; Mathias Van Eecloo; Marco Bonini, Elio Martusciello, Airchamber 3; Nicola Conte {Blue Note records} becoming the voice of the song "Love me 'till Sunday "soundtrack of the Ras insurance commercial starring Sean Connery; Luminance Ratio; Enrico Coniglio, Roland Quelven, Erica Scherl, Sarah Bliss. She is currently working on SURINAME {a transmedial project involving visual artist Maria Pia Picozza and musician Cristian Maddalena} and FIGURES OF ABSENCE (freely inspired by the cinematic poetics of Dore O', with Elio Martusciello and Cristian Maddalena).
She has also curated a series of podcasts entitled "The Cat Cinderella" with the aim of promoting the dissemination of works by women artists on the brink between net_art, sound art
and audio documentary. At the end of 2012 she started to collaborate with french visual artist Aude Francois: they conceived Self Made Worlds a performance for voice, electronics, and visual explorations [liberally adapted from ”House of Incest” by Anaïs Nin]: a dialogue between the organic body depicted in video and the sounds and voices present on the stage. Her new solo album Body Maps {out on december 16th 2022 on Folderol Records} has been inspired by Jean Luc Nancy’s Corpus. A blend of spoken word, electroacoustic textures and instruments, found sounds and voice; these tracks evolved from a series of improvised recording sessions held in Italy between 2018 and 2021. Barbara is working on a new project making use if rediscovered private memories [old photographs, letters from strangers, sounds of objects no longer in use, semi-forgotten nursery rhymes, etc] .
The list of her collaborations include: sound and visual artists Leonardo Rosado {together they realize Viseu Aural Chronicles audio-visual residency project commissioned by Festival Jardins Efemeros _Viseu_Portugal} Mark Walters; Roland Quelven; Julia Kent; Marco Messina; Mathias Van Eecloo; Marco Bonini, Elio Martusciello, Airchamber 3; Nicola Conte {Blue Note records} becoming the voice of the song "Love me 'till Sunday "soundtrack of the Ras insurance commercial starring Sean Connery; Luminance Ratio; Enrico Coniglio, Roland Quelven, Erica Scherl, Sarah Bliss. She is currently working on SURINAME {a transmedial project involving visual artist Maria Pia Picozza and musician Cristian Maddalena} and FIGURES OF ABSENCE (freely inspired by the cinematic poetics of Dore O', with Elio Martusciello and Cristian Maddalena).
Vincenzo Madaro, a political science graduate specializing in environmental management. Raised with a passion for cinema, he is one of the founders of Il Serraglio, a nonprofit association organizing Vicoli Corti_Cinema di Periferia, now in its 14th edition, of which he is Artistic Director. He is also involved in school projects such as CinemAscuola, reviews, thematic cineforums and educational workshops for students of all levels.
He was a DJ and independent radio host, in the studios of historic northeastern broadcasters, with "Nocturnal Emission," a program co-hosted with Massimo Caner from the early 1980s until 2010.
A writer and music critic, he has been one of the longest-running signatures of the monthly music magazine ROCKERILLA since 1983.
A freelance writer for various music webzines, he writes about music and more on the blog DISERTIONS, hosted on SHERWOOD.IT.
He publishes on the literary blog NAZIONE INDIANA, in the European cultural magazine SUD with features on various literary and music publications.
He is co-owner and art-director of the independent digital music labels LAVERNA.NET and FALERNA.ORG.
In 2016, his first literary collection titled HAZKARA' was released by the non-disco publishing house 13_Silentes. He appears, with a short story written together with Francesco Forlani, in the collection "DEATHS IN VENICE" edited by Laura Liberale for Carteggi Letterari.
He participated in the multidisciplinary project ALONE by and with Gianni Maroccolo parecipating with his stories in the first four volumes published. He artecipated in Arlo Bigazzi and Chiara Cappelli's project dedicated to Majakovsky and participated with one of his stories in the volume "Quinto Paesaggio. Concerts of Ideas in Action" soon to be published.
A writer and music critic, he has been one of the longest-running signatures of the monthly music magazine ROCKERILLA since 1983.
A freelance writer for various music webzines, he writes about music and more on the blog DISERTIONS, hosted on SHERWOOD.IT.
He publishes on the literary blog NAZIONE INDIANA, in the European cultural magazine SUD with features on various literary and music publications.
He is co-owner and art-director of the independent digital music labels LAVERNA.NET and FALERNA.ORG.
In 2016, his first literary collection titled HAZKARA' was released by the non-disco publishing house 13_Silentes. He appears, with a short story written together with Francesco Forlani, in the collection "DEATHS IN VENICE" edited by Laura Liberale for Carteggi Letterari.
He participated in the multidisciplinary project ALONE by and with Gianni Maroccolo parecipating with his stories in the first four volumes published. He artecipated in Arlo Bigazzi and Chiara Cappelli's project dedicated to Majakovsky and participated with one of his stories in the volume "Quinto Paesaggio. Concerts of Ideas in Action" soon to be published.
Paolo F. Bragaglia began his activity as a musician in the 1980s as a guitarist participating in the prolific Italian and Marche new wave scene with the groups Dagon, Tzar's Re-Vox, and 3B Unit[1]. It was during this period that he began his interest in instruments such as synthesizers and drum machines, later devoting himself more and more to electronic instruments of an analog and digital nature. Since 2006 he has been in charge of the artistic direction of the electronic music festival Acusmatiq, held at the Mole Vanvitelliana in Ancona and featuring artists such as Thomas Brinkmann, Chris Cutler, ZAPRUDER filmmakersgroup, Gianpaolo Antongirolami, Fennesz, Luca Miti, Francesco Fuzz Brasini, Otolab, Roberto Paci Dalò, Robert Lippok, Howie B, Mouse on Mars, Biosphere, Throbbing Gristle rib Chris & Cosey and the creation of the Temporary Museum of the Marchigian Synth within the festival.
HERNANDO URRUTIA
Multidisciplinary Artist, Researcher, Designer, Composer, Curator and Cultural Manager, of Portuguese nationality (PhD) in Digital Media-Art. University Professor of Multimedia and Arts in UPT - Portucalense University - Porto, Portugal; Multimedia Research Coordinator at CIAUD-UPT. Collaborating Researcher at CIAC - Arts and Communication Research Centre (UAb - Lisbon / UAlg - Faro, Portugal) and CIAUD | UPT - Research Centre for Architecture, Urbanism and Design (UPT – Porto, Portugal); Visiting Researcher at M-ITI - Madeira Interactive Technologies Institute (UMA - Funchal, Portugal). Member of the Editorial Board of Editora DIALÉTICA (Brazil). Reviewer of Scientific Articles for ROTURA - Revista de Comunicação, Cultura e Artes of CIAC - Centro de Investigação em Artes e Comunicação da UAlg - University of the Algarve | Algarve, (Portugal). Curator in 44 artistic projects since 1996, with highlights: META-MORFO Portugal's Experimental Exhibition of Audio-visual Technology, in Brazil 2023-2024; Video Art Exhibition on the Border, Portugal and Spain Section - FERIA TRANSFRONTERIZA DE ARTE CONTEMPORÁNEO (CROSS-BORDER CONTEMPORARY ART FAIR) Spain - Portugal 2023-2025; META-MORPHOSIS digital –2023-2024 (Spain); TRANSGRESSION art + technology 2021-2024; THE WRONG BIENNALE 2021-2024 - Spain; TRANSGRESSION art + technology PR 2, 2023-2024 - Portugal; IMAGE PLAY International Video Art Festival 2019-2024 - Portugal; EXPERIMENTA - International Video Art Exhibition, 2019-2024 - Portugal; Digital Aesthetics Laboratory, 2024 (Portugal); MUESTRA INTERNACIONAL DE VIDEONARRACIÓN A/R/TOGRÁFICA 2024 Special Programme DIGITAL TRANSPOSITION (Spain); Curator and Award Jury of the IBRIDA FESTIVAL, 2024 (Italy); Chairman of the Board of + ART CONTEMPORARY Cultural Association, 2022-2026 (Portugal); Artistic Director and Coordinator EXE - Experimental Exhibition | Audio-visual, International Festival/Exhibition Project, 2023-2025 (Portugal); Multimedia Curator at TRATUÁRIO - Gallery, 2024 (Portugal); Curator and Member of the International Scientific Committee of the Video Art Festival OVER THE REAL, 2021- Italy, Curator and Member of among many others. Artistic Director of New Media/Digital Media Arts of APCA 2023-24; President of the + Art Contemporary 2022-2026. Project Director INTER-SECTION International Digital Media Art Festival - 2024 (Portugal). He has received 313 recognitions, 4 Artist Residencies and 10 awards.
He is a project designer and manager in the fields of education and culture. He collaborates with the magazine Blow Up and continually (and unsuccessfully) attempts to bring order to his many artistic passions. The subject of study in a recent essay on music criticism, he has published more than eighty reviews of non-existent albums and is the co-author of an electroacoustic music release.
Flavia Massimo is a contemporary cellist, sound artist, and event curator, trained in both classical and electronic music. Her work reimagines the cello through extended techniques, live electronics, and innovative sound processing. She released the album “Glitch” with the Sheffield-based label “Audiobulb”, a project focused on the aesthetic of interferences, errors, and sound granules in a melt of acoustics and electronics. Flavia composes soundtracks for exhibitions, dance and theatre performances, and creates interactive art installations. Her intense schedule of live performances brings her to work with several well renowned artists of classical, pop and contemporary music in Italy and worldwide. She has collaborated, as sound artist, with the “CRM”, music research center in Rome. She works as a producer and editor for the American label “Odradek Records” and she is the art director of “Paesaggi Sonori”, a festival set in extraordinary natural locations.
Elio Martusciello (Naples, 1959) is a self-taught Italian musician and composer of experimental music and teaches electronic music at the Naples Conservatory.
He studied photography with Mimmo Jodice and visual arts with Carlo Alfano, Armando De Stefano and Rosa Panaro. His musical aesthetic derives essentially from acousmatic art, but in addition to acousmatic music composition he composes for instruments and live electronics, works in the fields of installation art, multimedia, visual arts and electroacoustic improvisation. He currently lives in Naples.
He studied photography with Mimmo Jodice and visual arts with Carlo Alfano, Armando De Stefano and Rosa Panaro. His musical aesthetic derives essentially from acousmatic art, but in addition to acousmatic music composition he composes for instruments and live electronics, works in the fields of installation art, multimedia, visual arts and electroacoustic improvisation. He currently lives in Naples.
Silvia Cignoli is a classical and electric guitarist, as well as a composer.
She specializes in the interpretation of contemporary music. In her own works, she blends augmented guitar, keyboards, and electronics in a refined timbral research that creates intensely emotional soundscapes. Her work takes shape both in live performances and in the creation of music for documentaries, experimental cinema, and theater/dance.
www.silviacignoli.com
She specializes in the interpretation of contemporary music. In her own works, she blends augmented guitar, keyboards, and electronics in a refined timbral research that creates intensely emotional soundscapes. Her work takes shape both in live performances and in the creation of music for documentaries, experimental cinema, and theater/dance.
www.silviacignoli.com
He studied with Gianni Lenoci, with whom he also established an artistic partnership, and attended the Permanent Laboratory of Musical Research led by Stefano Battaglia at Siena Jazz.
His works have received numerous awards and recognitions from both critics and audiences (Premio delle Arti, SIAE Award, Top Jazz – Musica Jazz, Atlanta Pandemic Grant for Dance and Choreography).
His works have received numerous awards and recognitions from both critics and audiences (Premio delle Arti, SIAE Award, Top Jazz – Musica Jazz, Atlanta Pandemic Grant for Dance and Choreography).
Driven by a deep interest in pure sound and its intrinsic structure, he challenges conventional instrumental practice through the use of extended techniques and live electronics. His research projects explore avant-jazz, contemporary classical music, electronic music, and folk traditions, without adhering to a specific language. Interaction with other artistic forms—video art, cinema, poetry, dance, painting, literature—is a foundational part of his artistic vision.
He currently leads the ensemble Francesco Massaro & Bestiario and performs solo as well as in a duo with Francesco Pellegrino (“In continuità”, “Double exposure”).
He performs at major contemporary music festivals in Italy and Europe (AngelicA, Tempo Reale, Area Sismica, Urticanti, Una Striscia di Terra Feconda, A Love Supreme, Time In Jazz, Sonitus, Smallforms), collaborating with numerous artists including Joëlle Léandre, Markus Stockhausen, William Parker, Elio Martusciello, Marco Colonna, Luca Venitucci, Sakis Papadimitriu, Enrico Gabrielli, Alvin Curran, Mike Cooper, Michel Godard, Günther Sommer, Ab Baars, John Tchicai, Stefano Pilia, Ingar Zach, Alessandra Rombolà, Michele Sambin, Peter Bartlett, and with the Universities of Bari, Banja Luka, and Coimbra.
He is also active in educational outreach (early school cycles) promoting experimental music practices, and, in collaboration with speech therapist and author Mariagrazia Fiore, he develops musical reading activities for children and families.
Davide Ondertoller is a researcher “between historical sources and web sources.”
He works on digital archives, territorial workshops, and new forms of storytelling for cultural and sound landscapes.
He is the founder of the festival Portobeseno.it (2005) and of the cultural network Sinergie Lagarine (2009), based between Trento and Rovereto.
He works on digital archives, territorial workshops, and new forms of storytelling for cultural and sound landscapes.
He is the founder of the festival Portobeseno.it (2005) and of the cultural network Sinergie Lagarine (2009), based between Trento and Rovereto.
Videomaker, director, editor, cameraman, has been working for years in the film and audiovisual field making commercials, promos, corporate videos, event videos, backstage, video clips, 2d animation videos, interviews, TV shoots realizing projects with the association he chairs. He has also collaborated with Rai, Fandango and Freemantle.
Giulia Deval is a singer, multimedia artist, and sound researcher from Turin. Her work lies at the crossroads between experimental music, contemporary art, and avant-garde sound practices.
Her research places the voice at the center, both as an expressive tool and as material for investigation. She works in a hybrid territory: audiovisual installations, lecture-performances, workshops focused on the voice and magnetic tape, radio pieces, concerts featuring fictional characters.
Among her recent projects: PITCH — a lecture-performance that weaves together vocal intonation studies, sound anthropology, and pop culture; and Before the Catastrophe / Antes de la Catàstrofe — a participatory project exploring co-creation and soundscape.
In 2024, she received the Lydia Award for her research project Sensing Beyond Human: human and non-human communication through voice.
Her academic background includes a bachelor’s degree in Visual Arts from the Brera Academy of Fine Arts (2015), and a degree in Music and Theatre Studies (Multimedia Stage Forms) from the University of Bologna (2017).
Her performances and installations have been presented in major international venues and contemporary art spaces, including Cafe OTO (London), Hangar.org (Barcelona), BOZAR (Brussels), Jazzorca (Mexico City), Punctum (Prague), and OGR Torino (Italy)
Paco Maddalena, who graduated in Art History from the D.A.M.S. (Department of Arts, Music, and Performing Arts) of Bologna in 2004, has always been involved in cinema and music. He is a filmmaker and cinematographer in the
Italian film industry, known for his films, documentaries, short films, commercials, music videos, and installations, which have been awarded and recognized at many Italian and International Festivals, including the Venice Biennale, the Rome Film Festival, the Cefalú Film Festival, and the Independent Film Festival of Latina. He has also active as a musician:
apart from being a bassist and guitarist in several post-rock bands, he is an experimental electroacoustic and generative music composer. His work is characterized by the use of field recordings, tapes, synths and eurorack modular systems. He lives between Brindisi and Rome.
Italian film industry, known for his films, documentaries, short films, commercials, music videos, and installations, which have been awarded and recognized at many Italian and International Festivals, including the Venice Biennale, the Rome Film Festival, the Cefalú Film Festival, and the Independent Film Festival of Latina. He has also active as a musician:
apart from being a bassist and guitarist in several post-rock bands, he is an experimental electroacoustic and generative music composer. His work is characterized by the use of field recordings, tapes, synths and eurorack modular systems. He lives between Brindisi and Rome.
Architect, photography enthusiast and compulsive listener. Starting in 2014 I write for the webzine Triste© - Indie Sunset In Rome. The following year I open my personal blog SoWhat, mainly dedicated to research and experimental productions. In 2020 I begin my adventure with "Ondarock", later becoming editor and head of the "altrisuoni" section. The following year I start collaborating with "The New Noise".
Giovanni Sabattini, who graduated in Philosophical Sciences from Bologna in 2023 with a thesis on Don Quixote in Bergson's philosophy, has been involved in research cinema and has been artistic director of the Ribalta Experimental Film Festival since 2020. He collaborates externally with Progetto Bridge studio in Carpi and, as a volunteer, in organizing the program of the Nonantola Film Festival and Kinò Campus
Partner
Submit your work
Landscape2526 is a project curated by the Zeugma collective and Laika APS with the support of:
Vicoli Corti Festival, Portobeseno Festival, Paesaggi Sonori Festival, Acusmatiq Festival, Apesoft, aqusmatiq softare, Rufa Rome University of Fine Arts, Radioarte, Silent Radio, Fangoradio, Cinemavvenire, Ambient Italia, Salotto Elettronico, Cavo Fest, Tucep, Crinale, Next Generation EU, MIC