Lucia D'Errico

Austria (residence), Italy (citizenship) °1982
research interests: music, post-structuralism, electronic music, video performance, graphic design, Deleuze, Derrida, performance, materiality, lacan, epistemology, sound, Speculative Realism, New Materialism, non-human, Algorithmic Composition, experimentation, machine
affiliation: University Mozarteum Salzburg
Lucia D'Errico is an artistic researcher in the field of music with a special focus on experimental performance practices and wide-ranging interests in visual arts, post-structural philosophy, semiotics and epistemology. After her PhD and her postdoc at the Orpheus Institute in Ghent, she has been professor for artistic research at the Mozarteum University since 2021. She is co-editor of Artistic Research: Charting a Field in Expansion and author of Powers of Divergence. An Experimental Approach to Music Performance. She works as a composer, sound artist, performer and graphic designer. Her work focuses on the transformative power of artistic research. D'Errico's intellectual and creative mobility has taken her into fields as diverse as music composition, music performance, computer music, video performance, graphic design, modern literatures, languages, post-structural philosophy, and epistemology. As an artistic researcher, she has developed new musical practices (especially the practice of "divergent performances" and "rhopophony"), new concepts (especially the concept of the "operator"), new methods (e.g. techniques of minoration) and in recently developed new epistemological frameworks (the tetrapartition of the relationship between knowledge and the unknown, the monadic approach to artistic research, and the notion of the knowledge rift).


research expositions

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Powers of Divergence

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  • Aberrant Decodings (21/11/2017)
    Event: Performance, Handelsbeurs, Ghent, artist(s)/author(s): Lucia D'Errico
    Lucia D’Errico, concept, composition, guitars, laptop, digital images Marlene Monteiro Freitas, dance In the performance Aberrant Decodings the figure of the interpreter of Western notated art music is questioned and challenged in favour of an experimental attitude towards past musical woks. The performance takes place in the form of a “recital,” staging pieces by Ludwig van Beethoven, Giulio Caccini, Sigismondo d’India, Athanasius Kircher, Claudio Monteverdi, Robert Schumann, and Nicola Vicentino. Yet, instead of presenting the pieces in their original instrumental and sonic configuration, they are evoked through sounds and gestures unrecognisable as belonging to their pastness: electronics, guitars, dance. The interpreter turns into the operator, a figure that instead of replicating, reproducing, reconstructing the past, emphasises the potential in it latent for the emergence of the new. Whereas execution and interpretation relate to an ideal and aprioristic sonic image of the musical work (as Platonic copies), Aberrant Decodings produces simulacra: performance becomes a sonic “image” that relates to what is different from it (the musical work expressed by a score) by means of difference, and not by attempting to construct a (supposed) identity. In this process, internal resemblance is negated, together with the idea of composition as origin and performance as its telos. The physical presence of the operator on stage is double: on one end the musician, whose body exposes various degrees of involvement with sound production (from hyperphysical engagement with the instrument to evaporation into electronic sound); on the other end the dancer, whose body is traversed by the de-anatomising affective power of sound- music.
  • Variation VIII (30/01/2016)
    Art object: Sound, artist(s)/author(s): Lucia D'Errico
  • Piange Madonna – Tryptich of anamorphic glances (26/05/2015)
    Art object: Sound, artist(s)/author(s): Lucia D'Errico
    After Sigismondo d'India's song "Piange Madonna" (1609)
  • Madonna il poco dolce (28/08/2014)
    Event: Performance, artist(s)/author(s): Lucia D'Errico
    After Nicola Vicentino's madrigal "Madonna il poco dolce" (1555)
  • n(Amarilli - 1) – series of anamorphic glances (15/04/2016)
    Art object: Sound, artist(s)/author(s): Lucia D'Errico
  • Rasch23 (4-1) (30/09/2016)
    Art object: Sound, artist(s)/author(s): Lucia D'Errico
  • Antidotum Tarantulae (30/04/2011)
    Event: Performance, artist(s)/author(s): Lucia D'Errico
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  • Sound Beyond Representation. Experimental Performance Practices in Music (26/11/2020)
    Publication: Publication, Bloomsbury, artist(s)/author(s): Lucia D'Errico
    The performance of Western notated art music is usually associated with the notions of execution, recitation, transmission, reproduction, or interpretation, relying on the existence of a commonly accepted, sedimented musical text, and on a set of stabilised conventions that regulate the communication between composer, performer, and audience. From this perspective, performance is the moment for the concrete sonic representation of an already known sound structure. The experimental approach proposed in this article fosters a move beyond such commonly accepted codes and conventions. In this new approach, the performance of past musical works is not regarded in its reiterative, reconstructive, or representational function, but becomes a locus of experimentation , where “what we know” about a given musical work is problematised. The performative moment is thus both a creative and a critical act, through which new epistemic and aesthetic properties of the musical work emerge. Whereas the activity of interpreters and executants focuses on the balance between objectivity (the instructions contained in the score, the “facts” accumulated around the musical work, etc.) and subjectivity (the performer’s freedom, his/her expressivity, etc.), the new experimental attitude goes beyond both objectivity and subjectivity, differentiating itself from both mainstream and historically informed approaches to music performance.
  • Artistic Research: Charting a Field in Expansion (15/12/2019)
    Publication: Book, Rowman & Littlefield International, artist(s)/author(s): Paulo de Assis, Lucia D'Errico
    This important new book explores the thriving field of practice-based artistic research from a theoretical point of view. It presents a comprehensive overview of artistic research in the context of specific artistic practices, ideal for graduate and postgraduate students, as well as to scholars, researchers and artists alike.
  • Powers of Divergence – An Experimental Approach to Music Performance (01/09/2018)
    Publication: Book, Leuven University Press, artist(s)/author(s): Lucia D'Errico
    Beyond resemblance: creative divergence in music performance What does it mean to produce resemblance in the performance of written music? Starting from how this question is commonly answered by the practice of interpretation in Western notated art music, this book proposes a move beyond commonly accepted codes, conventions and territories of music performance. Appropriating reflections from post-structural philosophy, visual arts and semiotics, and crucially based upon an artistic research project with a strong creative and practical component, it proposes a new approach to music performance. The approach is based on divergence, on the difference produced by intensifying the chasm between the symbolic aspect of music notation and the irreducible materiality of performance. Instead of regarding performance as reiteration, reconstruction and reproduction of past musical works, Powers of Divergence emphasises its potential for the emergence of the new and for the problematisation of the limits of musical semiotics. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
  • For a Future of the Face: Faciality and Performance in the Dance of Marlene Monteiro Freitas (01/11/2019)
    Publication: Article, Leuven University Press, artist(s)/author(s): Lucia D'Errico
  • Aberrant Likenesses: The Transposition of Resemblances in the Performance of Written Music (01/09/2018)
    Publication: Article, Leuven University Press, artist(s)/author(s): Lucia D'Errico
  • )( Z )( (01/11/2017)
    Publication: Paper, Leuven University Press, artist(s)/author(s): Lucia D'Errico
  • Diabelli Machines 8 (01/09/2018)
    Publication: Publication, Orpheus Institute Series, artist(s)/author(s): Lucia D'Errico
    Imagining Beethoven’s Diabelli Variations as a musical time machine, the Diabelli Machines research project exposes productive tensions between Beethoven’s own time, its past, and its future. Beethoven’s original work was composed in two periods: the first draft (1819) included twenty-three variations, while the final version (1823) took the total to thirty-three variations. In the final version, Beethoven included many musical parodies, alluding to Bach, Handel, Mozart, Haydn, and Cramer. Diabelli Machines makes these past references audible to listeners, and adds future compositions, in the form of new pieces reflecting on the Diabelli Variations. Diabelli Machines8 contains a CD, a DVD, and a written essay. The CD presents six new pieces, which were composed in response to specific variations from Beethoven’s original work, and the first ever recording of the 1819 version of the Diabelli Variations. The DVD documents a live performance of Diabelli Machines in which the time machine is staged through conventional piano performance, transcriptions of the original variations for ensemble, and contemporary pieces. And the comprehensive new essay provides detailed insight into the ideas behind this project and its wider implications for future experimental performance practices of Western notated art music. CD 1 Juan Parra Cancino DeleuzApierre 04:29 2 Lucia D’Errico Variation 8 05:48 3 Tiziano Manca Parlando 05:34 4 David Gorton [Variation 12] 00:56 5 David Gorton [Variation 13] 01:00 6 David Gorton [Variation 14] 06:00 7 Bart Vanhecke Commentaire . . . Variation 20 05:04 8 Paolo Galli . . . heraus in Luft . . . 04:42 9 Ludwig van Beethoven Diabelli Variations (1819 version) 29:30 Ensemble Interface ME21 Collective Paulo de Assis | artistic direction Jan Michiels | fortepiano Total duration: 63:03 Recorded at the Orpheus Institute, Ghent, Belgium, 20–22 January 2017 (tracks 1–8) and 9 December 2017 (track 9). Sound engineer: Juan Parra Cancino. DVD – Diabelli Machines4 Paulo de Assis | piano and direction HERMESensemble Antwerp ME21 Collective Total duration: 87:00 Recorded at De Bijloke, Ghent, Belgium, 9 November 2015. Video recording: Thomas Heiber and Gerhard Schabel. Sound engineer: Juan Parra Cancino. Interviews with: Paulo de Assis, Juan Parra Cancino, Lucia D’Errico, Paolo Galli, David Gorton, Tiziano Manca, Bart Vanhecke
  • Reflection (01/02/2018)
    Publication: Article, Oxford University Press, artist(s)/author(s): Lucia D'Errico

Artistic Activity

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  • )( Z )( (20/10/2015)
    Art object: Illustration, artist(s)/author(s): Lucia D'Errico
    Series of 20 digital paintings printed on photographic paper. The series was created in occasion of the first international conference on Deleuze and Artistic research (Ghent, Belgium, 2015), and exposed in the entrance of the Orpheus Institute. The series is inspired by the Deleuzian concept of Dark Precursor. "Thunderbolts explode between different intensities, but they are preceded by an invisible, imperceptible dark precursor, which determines their path in advance but in reverse, as though intagliated” (Gilles Deleuze, Difference and Repetition)
  • The Waste Land (17/05/2014)
    Event: Concert, Teatro Fondamenta Nuove, Venice, artist(s)/author(s): Lucia D'Errico
    The Waste Land project aims at going beyond the concept of repertoire and to embrace that of relic: waste as desert, but also as scrap, unused thing. The land that has to be crossed is a fragmentary knowledge, a catalogue of dead things that take on new life when inserted into a different space, at the center of which there is sound. The text by T.S. Eliot is the dramaturgical starting point of an experience that involves writing, interpretation, improvisation, reproduction. The material which the waste land is made of - debris, human bodies in metamorphosis, water, oil, but also a crowd of voices that crosses the millennia - becomes a sonic scenography occasionally crossed by past musical experiences.


Rasch X

Nietzsche N

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Diabelli Machines

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DARE 2015

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