Univ.-Prof. Dr. Lucia D'ERRICO
Akademischer Titel: Univ.-Prof. Dr.
Tätigkeitsbereich: Universitätsprofessorin (Univ.-Prof.) für Artistic Research mit dem Schwerpunkt Musikalische Aufführungskunst
E-Mail: lucia.derrico@gmpu.ac.at
Künstlerisch-Pädagogisches Profil
Deutsche Version
Lucia D'Errico ist künstlerische Forscherin im Bereich Musik mit einem besonderen Schwerpunkt auf experimentellen Performancepraktiken und einem Interesse an Transmedialität, bildenden Künste, poststrukturalistischer Philosophie, Semiotik und Epistemologie. Sie arbeitet als Performerin, Komponistin, Klangkünstlerin, Videoperformerin und Grafikdesignerin. Nachdem sie die ersten Jahrzehnte ihrer künstlerischen Karriere der Musikperformance als Gitarristin gewidmet hatte, mit einem besonderen Schwerpunkt auf neuer und experimenteller Musik, konzentriert sich ihre Arbeit heute auf die transformative Kraft der künstlerischen Forschung. Ihre Kompositionen und Performances wurden unter anderem in der Casa da Música Porto, im Muziekgebouw Amsterdam, im De Singel Antwerpen, im Opernhaus Oslo, im De Bijloke Gent, im Tanzquartier Wien, im Royal College of Art London, in der Globart Academy Wien, im Ailab Wien, im Yong Siew Toh Conservatory Singapur, im Plivka Kiew und an der Universitat Pompeu Fabra Barcelona präsentiert. Ihr Forschungsschwerpunkt ist stark transdisziplinär und zielt darauf ab, aktuelle Ansätze in der Musikaufführung und -komposition zu hinterfragen, indem sie diese mit Konzepten und Praktiken aus anderen Bereichen in Verbindung bringt, insbesondere mit der poststrukturalistischen Philosophie, der kritischen Theorie und der bildenden Kunst. Weitere Forschungsgebiete sind die Kritik der Repräsentation, die Rolle des Menschen im Verhältnis zum Nicht-Menschlichen, die paradoxe Beziehung zwischen dem Schreiben und dem, was sich dem Schreiben entzieht, die Aufhebung teleologischer Zeitlichkeiten, der Status der Frage in der künstlerischen Forschung und die Untersuchung maschineller Ontologien.
English version:
Lucia D'Errico is an artist-researcher in the field of music with a special focus on experimental performance practices and interest in transmediality, the visual arts, post-structural philosophy, semiotics and epistemology. She works as a performer, composer, sound artist, video performer, and graphic designer. After she dedicated the first decades of her artistic career to music performance as a guitarist, with a special focus on new and experimental music, her work today focuses on the transformative power of artistic research. Her compositions and performances have been presented at: Casa da Música Porto, Muziekgebouw Amsterdam, De Singel Antwerp, Oslo Opera House, De Bijloke Ghent, Tanzquartier Vienna, Royal College of Art London, Globart Academy Vienna, Ailab Vienna, Yong Siew Toh Conservatory Singapore, Plivka Kiev, Universitat Pompeu Fabra Barcelona, to name but a few. Her research focus is strongly transdisciplinary and aims at challenging current approaches in music performance and composition by relating them to concepts and practices from other fields, most notably post-structural philosophy, critical theory, and the visual arts. Other areas of research include the critique of representation, the role of the human in relation to the non-human, the paradoxical relationship between writing and what escapes writing, the suspension of teleological temporalities, the status of the question in artistic research, and the investigation of machinic ontologies.
Wissenschaftliches Profil
EDUCATION
2018–2021 Postdoctoral Fellow in Artistic Research, Orpheus Institute Ghent (BE). Focus on processes of de-signification and de-subjectification in music performance, with an emphasis on the fragmentariness and multiplicity of media and languages and on intertwining music and post-structural philosophy and epistemology.
2014–2018 PhD Doctor in the Arts, docARTES /KU Leuven (BE). Reshaping the practice of Western notated art music through my own concept and practice of “divergent performance,” through insights from the visual arts, architecture, semiotics, post-structural philosophy, and psychoanalytic theory. Supervisors: Dr. Paulo de Assis, Prof. Dr. David Burns.
2006–2010 Master’s Degree in English Literature, Ca’ Foscari University of Venice (IT). Title of the thesis: I: & the not I: & the outer, & the inner. The body, its traces and carapaces in the work of Virginia Woolf. A Deleuzian reading of the body and its figures in the fiction and essays by Virginia Woolf.
2003–2007 “Diploma di Conservatorio” (equivalent to Master’s Degree) in Classical Guitar, Conservatorio Benedetto Marcello of Venice (IT).
2005–2007 “Compimento Inferiore” in Composition, Harmony and Counterpoint, Conservatorio Benedetto Marcello of Venice (IT).
2001–2005 Bachelor’s Degree in English and German Languages and Literatures, Ca’ Foscari University of Venice (IT). Title of the thesis: Orlando in front of the Mirror: The Self, the Other and the Other Self. On the figure of the mirror in Virginia Woolf’s novel Orlando: A Biography, influenced by a Lacanian reading.
TEACHING POSITIONS
2021–2025 Professor for Artistic Research, University Mozarteum Salzburg (AT).
SS 2025 Lehrauftrag for the supervision of artistic research in the performing arts at the mdw Vienna (AT).
2022–2025 Academic vice-coordinator of the Doktoratskolleg for the inter-university doctoral program Wissenschaft + Kunst, University Mozarteum Salzburg and Paris Lodron University Salzburg (AT).
2021–2023 Guest teacher for the Master’s program AReMUS, Conservatorio S. Cecilia Rome (IT).
2018–2021 Postdoctoral Fellow in Artistic Research, Orpheus Institute Ghent (BE).
2018–2021 Coordinator and teacher for the doctoral program docARTES, Orpheus Institute Ghent (BE).
SUPERVISED DOCTORAL RESEARCH
2024–curr. Kinga Tóth. “Wie das Wort lebendig wird — Gebet als Performance. Nonnenkunst als Textkörperperformance.” Interuniversitäre Einrichtung Wissenschaft & Kunst Salzburg.
2024–curr. Julieta Jacobi. “Anders sensorische Stadtraumaneignungen. Performance-theoretische Annäherungen an eine Okularzentrismuskritik.” Interuniversitäre Einrichtung Wissenschaft & Kunst Salzburg.
2024– curr. Zuzana Ernst. “Scores for Making Oddkin – Deep Listening as Method for Emancipatory Practices in the Arts.” Interuniversitäre Einrichtung Wissenschaft & Kunst Salzburg.
2024–curr. Francesco Pizzocchero. “Redundant cartographies. Tracing Negotiation Spaces in Aesthetic Capitalism.” Mozarteum University Salzburg.
2024–curr. Valeria Zane. “The Musician Out of Place.” Mozarteum University Salzburg.
2023–curr. Ellington Mingus. “Echoes of Resurgence: Charles Mingus and the Unheard Prisms of Identity.” Mozarteum University Salzburg.
2023–curr. Johanna Binder. “Natur aus zweiter Hand.” Mozarteum University Salzburg.
2022–curr. Renato Grieco. “Phonofagia. A speculative sound essay on Aural Sexuality in the form of an operatic Hörspiel.” Mozarteum University Salzburg.
2022–curr. François Lemieux. “’aboutissement non-fixés entre la vallée du Saint-Laurent et la caraïbe’—or a vagrant artistic practice charting practical paths towards the decolonial.” Mozarteum University Salzburg.
2021–curr. Chiara Percivati. “Different Tubes.” Orpheus Institute Ghent, Antwerp University.
2020–curr. Magno Caliman Sposito. “Mediation and object specific creative processes in experimental sound practices.” Orpheus Institute Ghent, Leuven University.
PUBLICATIONS
D’Errico, Lucia. 2025 (in preparation). “The Political Power of Micro-Formalism. An Essay.” In Özlem Canyürek, Tatjana Nikolić and Lisa Gaupp, Critiques and Asymmetries of Power: Music and Performing Arts. Vienna: mdw.
––––––––––. 2023. “Lacan’s Four Discourses and the Performance of Musical Scores,” in Miriam Althammer, Anja K. Arend, Anna Wieczorek (eds.), SCORES – Zwischen Dokumentation, Vermittlung und Kreation. Munich: epodium Verlag, pp. 40–55.
––––––––––. 2023. “Musicistica,” in Bernd Herzogenrath (ed.), Sound Word Almanac. New York: Bloomsbury Academic.
––––––––––. 2023. “Staying with the Question,” in Elena Peytchinska and Thomas Ballhausen, Fiction Fiction. Language Arts and the Practice of Spatial Storytelling. Vienna: Edition Angewandte, pp. 284–303.
––––––––––. 2022. “In Search for Art’s Relevance for Itself: Artistic Research and the Aesthetic Regime of Art,” in Jesús Tejada (ed.), New Paradigms for Music Research: Art, Society and Technology, University of Valencia, SPI, pp. 129–44.
––––––––––. 2022. “Togliere di scena,” in Bernd Herzogenrath (ed.), Concepts: A Travelogue. New York: Bloomsbury Academic, pp. 321–30.
––––––––––. 2022 “From Self-design to Self-institution. In (Re)Search for Art’s New Relevance,” in frei.schaffend, in Mozartforum–Jahresbuch 2022, University Mozarteum Salzburg, pp. 81–92.
––––––––––. 2021. “Stare con la domanda.” Quaderni del conservatorio «Giuseppe Verdi» di Milano. Pisa: ETS, pp. 23–35.
––––––––––. 2020. “Sound Beyond Representation. Experimental Performance Practices in Music,” in Marcel Cobussen and Michael Bull (eds.), Handbook of Sonic Methodologies. New York City: Bloomsbury Academic. De Assis, Paulo and Lucia D’Errico (eds.). 2019. Artistic Research. Charting a Field in Expansion. London: Rowman & Littlefield International.
––––––––––. 2019. “Introduction,” in Paulo de Assis and Lucia D’Errico (eds.), Artistic Research. Charting a Field in Expansion. London: Rowman & Littlefield International. D’Errico, Lucia. 2019. “For a Future of the Face: Faciality and Performance in the Dance of Marlene Monteiro Freitas,” in Paulo de Assis and Paolo Giudici (eds.), Aberrant Nuptials: Deleuze and Artistic Research 2. Leuven: Leuven University Press.
––––––––––. 2019. “Schumann’s Dichterliebe: From the problem of performance to the performance of the problem.” Mantua: La Deleuziana.
––––––––––. 2018. Powers of Divergence. An Experimental Approach to Music Performance. Leuven: Leuven University Press.
––––––––––. 2018. “Aberrant Likenesses: The Transposition of Resemblances in the Performance of Written Music,” in Michael Schwab (ed.), Transpositions. Aesthetico-Epistemic Operators in Artistic Research. Leuven: Leuven University Press, pp. 59–74.
––––––––––. 2018. Chapter and artwork. “Reflection,” in Daniel Leech-Wilkinson and Helen M. Prior (eds.), Music and Shape. Oxford: Oxford University Press, pp. 30–32.
––––––––––. 2017. Chapter and artwork. “)( Z )(,” in Paulo de Assis and Paolo Giudici (eds.), The Dark Precursor: Deleuze and Artistic Research. Leuven: Leuven University Press, p. 345.
OTHER RELEVANT WORK EXPERIENCE
2011–curr. Composer, sound artist, electronic music performer (performances by ME21 Collective, Ensemble Interface, Trio Scordatura, GAME ensemble, Esecutori metallo su carta; Casa da Música Porto, University of Royal Holloway London, London City University, Royal College of Art London, Globart Academy Vienna, Ailab Vienna, Norwegian Academy of Music Oslo, Yong Siew Toh Conservatory Singapore, Muziekgebouw Amsterdam, Universitat Pompeu Fabra Barcelona, Handelsbeurs Ghent, a.o.).
2015–curr. Video performer (performances at Tanzquartier Vienna, Casa da Música Porto, Ailab Vienna, Universitat Pompeu Fabra Barcelona, De Singel Antwerp, Oslo Opera House, Kunstnernes Hus Oslo, De Bijloke Ghent, Handelsbeurs Ghent, Yong Siew Toh Conservatory Singapore, a.o.).
1996–2020 Guitarist (Ensemble Interface Frankfurt, ME21 collective Ghent, Ensemble Risognanze Milan, Sentieri Selvaggi Milan, FramEnsemble Treviso, Laboratorio Novamusica Venice; performances at Globart Academy Vienna, Ailab Vienna, Festspiel Haus Erl, Villa Massimo Berlin, Teatro la Fenice Venice, Teatro dal Verme Milan, Piccolo Teatro Strehler Milan, Plivka Kiev, De Bijloke Ghent, Handelsbeurs Ghent, Institute Carlos Vega Buenos Aires, Universidad del Litoral Santa Fe, Brinkhallin Summer Festival Turku, a.o.).
2012–2018 Collaboration with theatre and dance companies (Marlene Monteiro Freitas, Teatro di Dioniso, Kinkaleri, a.o.).
2018–2020 Managing Editor of the Journal for Artistic Research.
2004–2021 Graphic designer and typesetter (MusicExperiment21, Orpheus Institute, Transpositions [TP], Long Song Records, UBIjazz association, Laboratorio Novamusica Venice, Ensemble Interface, a.o.).
SELECTED PRESENTATIONS
2025.04 Invited panel presentation at Artistic Research Centre, mdw Vienna (AT).
2024.11 Invited panel presentation at the Symposium “Feedback Constellations,” ZHdK Zürich (CH).
2024.04 Invited presentation “Songs of Resistance — a Proposal for a New Formalism in the Arts” at the panel “Critique on Power through Artistic Research – Empowerment through Artistic Research,” Artistic Research Center (ARC) mdw Vienna (AT).
2023.11 Keynote presentation “Images of Research” at the Study Day Artistic Research, Hochschule Luzern (CH).
2022.11 Keynote presentation at the Forum Musikvermittlung an Hochschulen und Universitäten, Salzburg (AT).
2022.11 Presentation at the doctoral collegium docARTES, Orpheus Institute Ghent (BE).
2022.11 Presentation at the Symposium “Working with frictions,” Royal Conservatoire The Hague (NL).
2022.10 Keynote presentation in the Symposium “Transformative Futures: Re-Imaginations of Time, Space and Materiality in Artistic Research,” Centre for Knowledge in the Arts, Copenhagen (DK).
2022.06 Invited presentation for the lecture series “SCORES—Between Documentation, Mediation and Creation,” Hochschule für Musik und Tanz Köln (DE).
2022.04 Invited presentation on “Artistic Components as Inter-Artistic Phenomena” at the Öresund Collegium for Artistic Research, Malmö (SE).
2021.12 Keynote presentation at the Settima Giornata Italiana della Ricerca Artistica e Musicale, RAMI association, Conservatorio G. Verdi Milan (IT).
2021.11 Invited presentation for the participants of the course Kuratieren in den szenischen Künsten, University of Salzburg (AT).
2021.11 Invited presentation for the doctoral candidates of docARTES, Orpheus Institute Ghent (BE).
2021.10 Invited performance/presentation at the Orpheus Doctoral Conference “Emergence/y. A sound difference,” Orpheus Institute Ghent (BE).
2021.09 Invited performance/presentation at the Seminar RCA MRes 21 Research Journeys – Atoms and Echoes, Royal College of Art London (UK).
2021.09 Invited panel member at the “I International Congress: Intersection art, society and technology in musical innovation,” Universidad de Valladolid, Instituto Katarina Gurska Madrid (ES).
2021.05 Invited presentation for the Master’s students of the Conservatory of The Hague (NL).
2021.02 Invited presentation on “Diagram” as a methodological tool for practice-based research at the Royal College of Art, London (UK).
2020.10 Presentation on Artistic Research at the Centro Superior Katarina Gurska, Madrid (ES).
2020.09 Invited presentation on Artistic Research at the Conservatoire of Tilburg (NL).
2019.10 Performance/presentation “Dichterliebe op. 48: towards a Performance of the ‘Problem’” at the International Artistic Research Symposium, Yong Siew Toh Conservatoire, Singapore (SG).
2019.10 Invited presentation “How do we recognise a Human? Voyages out of the Automaton of Culture” at the GLOBART Academy, Essl Museum, Vienna (AT).
2019.07 Paper “For a Future of the Face: Faciality and Performance” at the Deleuze & Guattari Studies Conference, Royal Holloway, London (UK).
2018.06 Paper at the European Research Music Conference, Universitat Pompeu Fabra Barcelona (ES).
2018.06 Presentation for “Art at CMS,” CERN Geneva (CH).
2017.10 Invited presentation at ARTikulationen festival, Kunstuniversität Graz (AT).
2015.06 Paper “The Becoming Music of Music” at the International Deleuze Studies Conference, University College of Arts and Crafts, Stockholm (SE).
COMMISSIONS OF TRUST
2019–2022 Editor of the Series Artistic Research. London–New York: Rowman and Littlefield International.
2018–2020 Member of the Editorial Board of the Journal for Artistic Research.
2015–2019 Member of the Scientific Advisory Board of the biannual International Conference on Deleuze and Artistic Research (DARE).