Born 1985, USA.
Erik Deluca is a composer and artist. His writing on the nature/culture dualism in sonic art has been published in Perspectives of New Music, Leonardo Music Journal (MIT Press), and Organised Sound (Cambridge University Press). His sound installations explore the space between commercial sound objects and their signaling metaphors, and his concert music focuses on the mediation of technology as it relates to sound in culture.
DeLuca has lectured, performed, and exhibited at international venues, including MASS MoCA, Melbourne Recital Hall (Australia), Society for Ethnomusicology, Guggenheim House (Japan), Bang on a Can, Gitameit Music Center (Myanmar), Art Basel (Miami), Bemis Center for Contemporary Arts, Straight No Chaser (South Africa), Issue Project Room (NYC), June in Buffalo, Fieldwork: Marfa, SXSW, KM Music Conservatory (South India), and the International Computer Music Conference (Ireland). DeLuca’s music has been performed by a variety of ensembles and soloist, including Ensemble Signal, members of Eighth Blackbird, Splinter Reeds, and Dither, and has been released on the SEAMUS label and Everglade Records. As a field recordist and technical director, DeLuca collaborated with curator Jennifer Burris and composer Alvin Lucier in 2016 on Marfa Sounding: a series that explores the intersection of music and the visual arts in the development of Minimalism. In addition, DeLuca has researched sound and listening as a permit-holding “social science researcher” and invited Artist-in-Residence in many national parks in North America and Alaska. He currently collaborates with choreographer Abigail Levine, and in 2016 embarked on a 17-show tour along the U.S. east coast with his experimental, noise-rock band. DeLuca was appointed lecturer of music for the spring 2015 Semester at Sea circumnavigation.
DeLuca received the PhD in Composition and Computer Technologies from the University of Virginia and is currently based in Reykjavík as an American-Scandinavian Foundation postdoctoral fellow affiliated with the Iceland Academy of the Arts. He is researching, and intervening with two popular eco-artworks in Iceland: Richard Serra’s “Áfangar” on Viðey Island and Lukas Kühne’s “Tvísöngur” in Seyðisfjörður. These site-specific interventions are theoretically grounded with a blend of environmental history, institutional critique, relational aesthetics, and archeoacoustics. Through a 12-channel public address system, ham radio transmissions, and field recording, these works lean toward self-critical environmental sonic art.