FLOATING SOUND GALLERY

Vienna


Carola Zelaschi

Circuit Fantôme Season 5 Episode 10
curated by Anton Iakhontov (Patrick K.-H.) and Daniel Teruggi,


Sat, 18 October, 2025
18.00-22.00

Pay as you wish

︎Vronihof     
        Veronikag. 24
        1170 Wien



Carola Zelaschi (Buenos Aires, 1991) is a composer, drummer, and producer who thrives at the intersection of noise, orchestral music, and sound design. Founder of the experimental noise-punk band Blanco Teta, she also leads solo projects such as PANAL, Carolo, and Descargas Eléctricas Occipitales.

Her work has taken her to residencies at Art Omi (NY), Ko Arts (Texas), Somar Rumor (Brazil), and Teatro Colón’s Bosque de Creadoras, as well as live performances across Europe. She has collaborated as a drummer and arranger with artists like Marilina Bertoldi and Lucy Patané, and created original scores and sound design for leading stages such as Teatro Colón and Teatro Nacional Cervantes.

Zelaschi’s music is bold and mischievous, always seeking to break boundaries, genres, and roles—embracing risk as a path to originality.


Octophonic performances:

Descargas Eléctricas Occipitales

1 - Las Descargas
2 - Valcote
3 - Lili
4 - 19 Electrodo


The project draws inspiration from a neurological condition experienced during childhood, using it as a poetic framework to explore the relationship between the orchestra and electricity. Acoustic instruments represent the body — the organic brain — while digital and analog interventions embody the electric discharges that traverse it. These interventions are not mere effects, but structural elements that rewire the performance itself.

This conceptual base unfolds into a sound experience that is both visceral and cerebral, blending raw emotion with technological articulation. The ensemble was processed live: string sections may be filtered through real-time software, percussion might trigger motors, and winds may be amplified or distorted through tactile transducers or analog circuitry. These interactions alter the timbral identity of each instrument, expanding their expressive range beyond traditional acoustic limits. It embraces the errors, noises, and anomalies that arise from this hybridization as vital components of the piece. By allowing electricity to “speak through” the orchestra, the work embodies an inner discharge, a catharsis that reflects the blurred boundaries between control and collapse, memory and glitch, the human and the artificial.

Ultimately, the piece is not just about sonifying a personal medical history; it is about transforming it into a shared, immersive experience that invites listeners to feel the pulse of an electrified body and the vulnerability of a charged mind.




Supported by Stadt Wien Kultur and Bundesministerium für Wohnen, Kunst, Kultur, Medien und Sport
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