Experimental composer, sonic architect, performance artist and Jungian tarotist Guillermo Galindo redefines the conventional boundaries of music and the art of music composition.
Gallindo’s broad interpretation of concepts such as musical form, time perception, music notation, sonic archetypes and his original use of sonic devices span through a wide spectrum of output, including symphonic works, chamber acoustic composition, performance art, visual art, computer interaction, electro-acoustic music, opera, film, instrument building, three dimensional installation and live improvisation. For the last several years, Galindo has created what he calls “cyber-totemic sonic objects,” which are sculptural instruments based on the pre-Colombian belief that there is an intimate connection between the sound of an object and the material from which this is made. Each cyber-totemic instrument becomes the medium through which the spiritual animistic world around us expresses itself.
His piece “Voces del Desierto,” commissioned by Quinteto Latino in 2012, incorporated his first set of cyber-totemic instruments, made from immigrants’ belongings found at the Mexico/US border, and fused them with the instruments of a traditional wind quintet: flute, oboe, clarinet, French horn and bassoon. The continuation of Galindo’s border instruments project is now part of a larger collaboration, called "Border Cantos," with photographer Richard Misrach.
Galindo is a senior adjunct professor at the California College of the Arts. He has also taught composition at Mills College and worked as a panelist and tutor for the Jovenes Creadores and the Sistema Nacional de Creadores music composition grants in Mexico City. Recent projects include commissions for the Paul Dresher Ensemble and the Kronos Quartet.