Giulia Vismara, born in Venice, studied Musicology at the University of Bologna and Music and New Technology at the Conservatory of  Florence and the Royal Conservatory of The Hague. She learned sound design for   cinema and attended different workshops on acousmatic and electroacoustic composition (Trevor Wishart, Natasha Barrett, Beatryz Ferreyra).

Currently she is a PhD student at IUAV, researching the dynamical   relationship between sound, space and body

(                ).

 She is a composer of electronic, electroacoustic and acousmatic music, and also an educator. Beside composition, she creates sound installation,   and realizes works for video, theatre and performance.  

Her interest lies in the experience of listening as an act of mind wandering in connection with the dimension/perception of space.



  • Werkplaats Walter, (Brussels), 2020, in collaboration with Franziska Windisch  (;

  • Tempo Reale, (Florence), 2019;

  • Overtoon, Brussels, 2019;

  • Iem, Graz, 2019;

  • Games of Life, (The Hague), 2019;

  • ACA, (Florida, Daytona beach), 2017;

  • Q02, (Bruxelles), 2016;

  • La Chambre Blanche, (Quebec city), 2016


Residencies in collaboration with the collective Dehors Audela



  • Teatro Cantiere Florida/VersiliaDanza, (Firenze), 2018;

  • Lavanderia a Vapore, (Torino), 2018;

  • Claps, Spazio Danzarte, (Brescia), 2018;

  • Spazio K (Prato) 2017

  • Tenuta Dello Scompiglio, (Lucca), 2015-2016;

  • Acs Abruzzo Circuito Spettacolo, (Teramo), 2014-2016

  • Armunia, (Castiglioncello), 2017

  • Le Murate, (Firenze), 2017;

  • Spam/Aldes, Porcari, (Lucca), 2017;

  • Anghiari Dance Hub, (Anghiari), 2016/2017;

  • Cross Award, (Verbania), 2015;


Live electronics&installations:

  • Live electronics, Listen Festival, Brussels, 27/03/2020;

  • Parafernalia, Beast fest 2018, Birmingham; Matera intermedia festival 2017, Matera; Tempo reale festival 2017, Firenze;

  • Live electronics, Eavesdrop, Ausland, Berlin 2017;

  • Live electronics, Aut fest, Berlin 2016;

  • Unspaces, La Chambre Blanc, Quebec City, Canada, 2016;

  • Live performance, Collectrif Hapax, Toulose Theatre/performances/live

  • Accidentali, Segnali Festival, Perugia, 3/05/2018;

  • Endless Ending Process, Lavanderia a Vapore, Collegno, 3/12/2018; Teatro Cantiere Florida, Firenze, 5/12/2018

  • Planimetrie, (In)Generazione, SanGimignano, 28/01/2017; FabbricaEuropa, Firenze, 17/05/2017; FuoriFormato, Genova, 27/06/2017; ElectroCamp, Forte Marghera, 7/09/201; Acs Electa Teramo, 11/03/2016; TeatriDiVetro10, Roma, 25/09/2016;

  • CC – Claude Cahun Contre Culture, Assemblaggi Provvisori, Tenuta Dello Scompiglio, Lucca, 18- 19/06/2016

  • Plica Ex Plica, CrossAward, Villa Giulia, Verbania, 4/07/2015; Teatro Franco Parenti, Milano, 5/07/2015

  • Kitchen, Diffrazioni, Performatialtri, Peraspera, Schiume Festival;


Music&sound for video art:


  • Crocevia, Seeing Sound, Bath, UK, 23-25/03/2018; Paesaggi Sonori, Novara, 8/05/2018; AsoloFilmFestival (Treviso), 6-10/06/2018; 17days, Western Michigan University, 11/2018; Dislocata, Vignola, 1-23/04/2017; IbridaFestival, Forlì, 3-5/05/2017; Premio M.Cosua, Festival Pasinetti, Venezia, 30/05/2017; StoriesWeDance, Genova, 27/06/2017; Videodance meeting, Valencia, 20/09/2017; VancouverAlternativeFilmFEstival 21/11/2017; OvertheReal, Viareggio, 8/12/2017;

  • Tertium non datur?, Estrazione/Astrazione, Festival d'arte contemporanea, Caltanissetta, 22- 24/07/2016, Bocs8, Raw – Rome Art Week, 9-14/10/2017

  • Labo, MAF – Media Art Festival, Roma, Maxxi, 17-19/05/2018; Positioning, Malta; Videodance Studies, Valencia, 4-6/10/2018;


Giulia Vismara is a sculptress of sonic matter. She is mostly concerned with the organic nature of sound and the creation of textures in which concrete and synthetic elements combine together. Space is the key of her research, the matrix that molds the music and the sounds she composes. For her, listening is in itself a part of the experience of space. Through her research she is investigating what does it means "space" as a concept in different context as architecture, technology and composition and how we can experience it via sound. For this reason she is using different methods and approach to spatializaiont and 3d technologies. When composing for theater and video, her music entwines the underlying concepts shaping the work and the practice of performers, maintaining at the same time a distinct personal touch.