algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
Luciano Chessa



Luciano Chessa studied organ with renowned Italian master Andrea Macinanti at Bologna’s Conservatory and with organist and composer Pellegrino Santucci. Throughout the years, Chessa has performed on organs among the finest in Italy and the United States, including two of Italy’s best Tamburini: the Grande Organo in the Sala Bossi, and Grande Organo in the Basilica di Santa Maria dei Servi, as well as the magnificent 7466 pipes Aeolian-Skinner instrument in San Francisco’s Grace Cathedral.

Chessa has been commissioned multiple times by PERFORMA, and in 2014 he presented three events at the Solomon R. Guggenheim Museum as part of the exhibition “Italian Futurism, 1909-1944: Reconstructing the Universe”. Chessa’s work has been featured in Artforum, Flash Art Internationalt, Art in America, and frieze; and has been featured in Marie Claire and Vogue Italia. Chessa is also a music historian specializing in 20th-century Italian and 21st-century American repertoire.

His compositions include the opera Cena oltranzista nel castelletto al lago—a work merging experimental theater with reality TV which required from the cast over 55 hours of fasting—and A Heavenly Act, an opera commissioned by the SFMOMA San Francisco Museum of Modern Art, with original video by Kalup Linzy

In 2009, his Orchestra of Futurist Noise Intoners (OFNI) was hailed by The New York Times as one of the best events in the arts; it continues to tour internationally. Currently an Artist in Residence at the Steel House in Rockland, ME, here he developed the show on view while also preparing the edition of Julius Eastman’s Second Symphony, the world premier of which he will conduct in NYC in September 2018.

Chessa’s Futurist expertise resulted in an invitation to direct the first reconstruction project of Russolo’s earliest intonarumori orchestra, and to curate concerts of music specifically commissioned for this orchestra. This production presented an impressive array of world premieres written by such composers and ensembles as Blixa Bargeld, John Butcher, Tony Conrad, James Fei, Ellen Fullman, Ghostdigital with Finboggi Petusson and Caspar Electronics, Nick Hallett, Carla Kihlstedt + Matthias Bossi, Ulrich Krieger, Joan La Barbara, Pauline Oliveros, Pablo Ortiz, Mike Patton, Anat Pick, Elliott Sharp, Jennifer Walshe, Theresa Wong and Text of Light.

Chessa’s newest album, “Canti felice”, has just been released on the Parisian label Skank Bloc Records.

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