The more one immerses oneself in the recording, the more one comes to appreciate Forcucci’s attention to detail and how artfully he’s arranged the sounds – Textura Evoking an impending danger by means of his orotund heavy “voice” and his effect on sonic sphere which seems to be covered by a sort of camouflage mantle – ChainDLK The music generates feelings associated with the sense of loss and the act of creation, things that, usually, anticipate the rising of new times – Neural
24.10.2018
11.06.2018
03.06.2018
09.05.2018
09.04.2018
21.03.2018
06.03.2018
01.03.2018
18.01.2018
20.10.2017
Awarded a six month residency in Berlin / Starting January 2018 for a new research
25.09.2017
03.08.2017
10.07.2017
23.06.2017
New paper Out now by yours truly (english, portuguese and spanish) on the French/Swiss Poet Blaise Cendrars in Brazil. Journal Pragmatize, n.12, 2017 “Leituras do mundo: formas de expressão criativas e comunicativas”, Latin American Journal of Cultural Studies / University Federal Fluminense / Brazil
22.06.2017
Talk for the 50th anniversary of Leonardo Journal / Rio de Janeiro / Brazil
11-18.06.2017
Performance and talk at ISEA 2017 / The international Symposia of Electronic Art Manizales / Colombia
05.05 – 05.06.2017
Performance / Exhibition / Research In Lofoten and Oslo (NOTAM)
04.04-04.05.2017
Research in Southern Africa (Mozambique, Swaziland and South Africa)
04.04.2017
New Album Release (limited tapes available)
Realities, appearing as multiple layers and folds in which memories, cognitions, perceptions are coined and ready to emerge.
Luca Forcucci – The Waste Land (Cassette on Crónica)
How to root your field recordings symphony firmly in INA-GRM territory? Well, let’s start with the rumbles of a passing train, in homage to Bernard Parmegianni… Or, do we hear something different than carriages on tracks? Luc Forcucci’s The Waste Land navigates the thin line where aural realities and sonic distortions and manipulations are crossing, merging, converging. He plays tricks on the memory for sound(s); cognitions thereof and the perception of space and time by inviting the ear towards examination of familiarities, while – at the same time, even – layering these habitual aural surroundings with alien noises, crackling static and displaced or disembodied emergences in multiscapes of sounds.
Following the lead of the ‘Giants of the GRM’ Forcucci dives deep into the sound matter at hand. The composer was invited to produce a soundtrack for a documentary movie. But, he didn’t have any information as to the nature of the moving picture. Forcucci was only given around six minutes of field recording to work with. And that too came without any further context. Deep listening brought forth images which formed a mental movie for Forcucci. The Waste Land is his soundtrack for exactly that inner motion, aurally pictured.
Forcucci manages to project clear images out of the fogs of sounds he juxtaposes. With Voices from the Coal Mine he works the resonant properties of real, tactile spaces into recombinant virtual ‘rooms’, taking cues and inspiration from Alvin Lucier. The piece also ushers in vibrant and touching memories of the miners and their voices – stretched out, drowned out, purified to base resonances. The deep darkness of Forcucci’s sonic excavations brings to mind Pietro Riparbelli’s explorations of resonance and reverberations.
With the last work on the tape Forcucci’s ear bridges nature on the coast of Normandy (matter of factly recorded and presented like Chris Watson) and urban flâneur sound walking through the city of Paris (not unlike BJ Nilsen’s London work Eye of Microphone). Reporting and observation with Forcucci’s keen ear – again – questions the listener’s habitual modes of hearing verging on listening and therewith anchors itself firmly and with bravura in the formidable lineage of the INA-GRM. (SSK)
— Address: http://www.cronicaelectronica.org/
March 12 2017
October 14 – December 4 2016
In residency in the Lofoten Islands. Preparing new projects for 2017…. and walking the walk… a lot.
October 11 2016
Presenting recent works at Laser Zurich / sponsored by Leonardo the International Society for Arts, Sciences, and Technology (Leonardo/ISAST)
Outcomes of the one month scientific delirium madness 2.0 residency in San Francisco California, conducted from June to July 2015. Published in Leonardo Journal June 2016.
May 11 – July 2 2016
In Sao Paulo in residency at the Red Bull Station working on new projects and presenting work in Brazil until end of July.
April 18 – May 6 2016
In Olso developing work at NOTAM with support from Vandaler Residency
Interview for the Swiss Radio and a Swiss TV for Bodyscape.
Presented on January 22 2016 at Centre Dürrenmatt in Neuchâtel / Switzerland
Interview in art / science America Bodyscape
L. Forcucci, 2014, A l’Ecoute du Bruit, In Barbanti R. and Mariétan P. (eds.) Sonorités 9 2015, Nimes: Champ Social Editions
From the series ‘I can’t go Back to Yesterday Because I was a Different Person Then.’ Picture Published in Transnational Dialogues Journal / November 2014
Touching the Audience Published in Proceedings of the Electroacoustic Music Studies Network Conference / Electroacoustic Music Beyond Performance / Berlin / Germany / June 2014
TRACES / 2014 / Digital Print on Archival Paper / ZKU Berlin / Germany / July 2014 
Released on Subrosa records 1. Fog Horns 2. L’Ecume des Jours 3. Winds After 12 hours of flight and some sleep deprivation, I landed in San Francisco in Spring 2011. Because or thanks to my state of consciousness, a distinct and beautiful sound appeared. It took a while to understand if that was real or just my imagination: The sound of the fog horns. Later, after emerging from my own fog, I drove thru Big Sur to Los Angeles on the Highway one. The sound haunted me while driving and I quickly heard it again when back in San Francisco. I went closer to the horns, (sound) walked and recorded sonic material on the coast. The results are imaginary landscapes recombined as a road movie. The material was then composed in Berlin during the summer of 2012 at the studio of T.U. University in Berlin and at Atomic Baby studio, where turntables, scratch, cuts and echoplex (by Goo Le Gooster) and electronic cello (by Michael Kott) were added.
