bio

My work takes form from model of nature and its functionality, genetic and morphable, as generators of and re-contextualizers of dynamic object/materials that build different kind of times. In my recent work I had thought about microsound, feedback , D.I.Y. and chemical instruments, as well as edge towards computer based music like dynamic interactive scores, and performance/installation pieces.

I studied composition at Universidad Nacional de La Plata with Mariano Etkin, and piano at BA Alberto Williams Conservatoire. I participated in differents master classes with Gerardo Gandini, Julio Viera, Mauricio Kagel, Dieter Schnebel, George Aperghis, Beat Furrer, Georg Friedrich Haas, Chaya Czernowin, Rebecca Saunders among others. National Composition Prize Juan Carlos Paz 2017. I received commissions and awards from Fondo Nacional de las Artes, Ministry of Culture Argentina, Centro Cultural de España, Art Mentor Foundation Lucerne, Cultural Promotion Council Buenos Aires, Conseil des du Arts et des Lettres de Quebec, Fundación Telefónica, Melos/Gandini, Centro de Investigaciones Artísticas and Colón Contemporáneo.

As curator on the musical scene I was Artistic Director of TACEC [Experimental and Creation Center Teatro Argentino de La Plata] during 2018. Founder of music platforms like CONTAINER [2016-], conDiT[2011-2015], and publications like Espiral [musical thinking magazine] and Musiki. Selected as active composer in Impuls-Graz 2013 y 2015, Darmstadt 2014, Tzlil Meudcan 2014.

My music has been performed by differents musicians and ensembles in Argentina, Brazil, Uruguay, Chile, Cuba, United States , Austria, Germany , Italy and England. Assistant professor of Contemporary Music Languages at UNLP [2008-2012]. Actually, teacher of Instrument 1 & 2, and Science and Music at UNTREF.

full cv

press

Great music

Mariana Ríos Urquidi, “A family submerged. Life after death” Diario Opinión, April 28th 2019, Cochabamba

 

Imposing the music by Luciano Azzigotti

Guilherme de Alencar Pinto, “Panorama del Monfic”, Argentina, Familia Sumergida

 

An experimental Center should be a collective dance retraining us to breath

Pedro Garay, “TACEC returns. Martian art to inspiring us for collective cooperation” Diario El Día, March 14th 2018, La Plata

 

The first piece, which not unintentionally opens the albun, is ‘Vilanos’, from Azzigotti, for amplified flutes. Throughout eleven minutes, the author works with a repertoire of tiny gestures, breaths, keystrokes, what are known as “non-pulmonic sounds”, and also converts each hole in the flut into a kind of closed tube with its own spectral components. The extendede tehcniques of the flute brings, from the electricity’s hand, to areas that could be shared with acousmatic music. The piece surprises by the power which is derived from the minimum.

Albert Gilbert, “About disk’s utiliy and contemporary argentine music”

 

That sound is called shepard tone, it’s an auditory illusion, described in the 70’s; it’s a feeling of endless fall. There is a lot information about that on the internet. As many things of Zama, it appeared due to that modern habit of not being ablet to go to sleep without derive on youtube for a couple of hours. Guido Berenblum comissioned Luciano Azzigotti, a musicians who love unusual experiments.

Lucrecia Martel in “Una película de 1790 llamada Zama” interviewed by Roger Koza

 

(about Translucent Spaces for flute , 2 trombones, trams y and stoplights…) ” The specificity of the moment (and all that makes up that moment) is what is valuable about site-specific music. If during a performance, trams stop in front of the site, or church bells strike time, or rain falls loudly and relentlessly, all the better! That exact moment will never happen again, nor should it. Unlike concert performances, site-specific music cannot chase uniform perfection and purity. What might be an external flaw in a concert performance is essential in a site-specific performance”

Victoria Cheah , “Taking The Concert Hall Out Of Contemporary Music”

 

It is true: even in the field of extended techniques there better works than others, and its clear that Azzigotti’s duet, Vilanos, for two flutes, does not exclude certain beauty of an hypnotic illusion, that the piece shares without doubts with the virtous performance of MEI duet, comprising Patricia García and Juliana Moreno

Federico Monjeau, “Creole Avant-garde and Noise Ideology”

 

Azzigotti-Marchiano-Jacoby triad found a subtle form of intervention, being a major achievement given the complexity of space. You could catalog the current intervention as a conceptual piece, which is equal to say that the pregnancy of the idea is a strong feature of the work.

Leopoldo Estol, “The sounds of the uncanny”

 

“LA: Let say that music, as a complexity of poetry,  is a latent form of collective inner voice. Now imagine that after all subjectivities and individual conceptions of musical agents wheter they are, poet, composer, performer, etc., art objects that manage to move culturally around link us with certain underlying spirit that drives us as society.  In it, very differents poly-times and cultures lives in. So, could just one type of concert to answer to a vital spirit and shared common sense?, With this question we set out to make the concert as another material to be composed, making tangible the a-priori relationships whereby each musical tradition builds its idea of concert, an play with them.”

Agustín Argentino, “conDiT: a way to bring music back to the neighborhood”

 

Many successfully emulated the concept of repeated, irregular sequences of movement and sound, while others worked with the fascinating idea of counterpoint that is both visual and auditory. Luciano Azzigotti’s work used light-hearted material to create overlapping character narratives like the lines in a Bach fugue.

Caitlin Smith, “Blending the Auditory With the Visual at IMPULS 2013”, I care if they Listen Magazine

 

The set of work is very interesting, although  Luciano Azzigotti’s work ( Qualia ) is more clearly cutted  by the complexity of its surface or its musical actions, a non crowded complexity, but expressive and highly ambiguous, with veiled melodies and some bergian quality , whose dialogue with some tradition turns it  at the same time highly original.

Federico Monjeau. “Valioso estímulo a la composición” Clarin Espectáculos Domingo 19 de diciembre de 2010

.

A key element of the proposed sensory experience proposed by these works  is sound design the artist developed with Luciano Azzigotti

Ana Maria Batistozzi. “Malestar que no cesa” Clarin Ñ, Lunes 1 de noviembre de 2010

 

Pereda made editing the videos along with Ferlat and worked the soundtrack with Luciano Azzigotti , crucial to the work’s outcome . With a successful balance between the sounds recorded in natural areas and electroacoustic ones, soundtrack, reworked especially to suit the requirements of the space, empowers  suggestion of images, both with that other form of silence sometimes prove to be the sounds of the wilderness or the echo of a mighty thunder that accompanies the extreme solitude of the landscape of the Puna.

Diana Ferández Irusta. “Los hilos terrestres” La Nación, Arte, Sábado 22 de mayo de 2010

 

Thus arose, mix of fiction and reality, “The time of water”, the impressive video installation, with unforgettable soundtrack by Luciano Azzigotti. A gem.

Marina Oybin.”Rituales antes de volver a la tierra, Clarin Ñ, Martes 18 de mayo 2010

 

Also released from the restriction of the subject, but not so much from technological seduction, Luciano Azzigotti choose to open the game of interactivity from a vessel that calls to  imagine translating ancient and future records of their voices, nothing else.

Ana Maria Batistozzi, Clarin Ñ, Sábado 6 de septiembre 2008

photos