Pedro Giuliano works with real-time imagery and artificial intelligence. In Quijotes en Nueva York, he brought those images into the space shared by the dancers of Elephant in the Black Box and cellist-composer Iris Azquinezer.
He also composites visual effects for film and designs projections for buildings. The scale shifts from work to work: he brought live action and digital elements together in El vals sin nombre, then worked across the façade of a town hall for Zarzuela Monumental Hispanidad.
The programme for Leoncavallo’s opera credits his audiovisual work alongside Bruno Arantes, Djalal Dufetelle and Felipe Giuliano. San Juan’s Teatro del Bicentenario produced Eugenio Zanetti’s staging.
Teatro del Bicentenario · programa, p. 14 ↗He designed the projection mapping for Zarzuela Monumental Hispanidad in San Lorenzo de El Escorial. Images filled the town hall façade as Miquel Ortega conducted the music in the square.
Crónica de Abantos ↗Reviewing Quijotes en Nueva York, Yaiza López draws attention to the relationship between the dancers’ bodies, Giuliano’s visual world and the music of Iris Azquinezer.
susyQ · Yaiza López ↗The programme names Giuliano as visual artist within Madrid Produce’s audiovisual and immersive design. Jean-Philippe Dury directed and choreographed the work; Arne Bock designed the sound.
Institut français de Madrid ↗On Felipe Giuliano’s short he composited the footage shot on set with digital environments and 3D elements. Djalal Dufetelle handled modelling and camera reconstruction.
Escena Inmersiva ↗