Throughout the 20th century, a vast yet discontinuous series of experiments, in addition to musical and artistic influences from other countries, gave birth to musical works and sound art pieces that question any coherence or linear development in contemporary Mexican music. The result is a collision between tradition and modernity, in the context of a ghostly musical past made up of the monumental ornaments of the nationalist cultural discourse and its different collapses. These fractures and implosions represent the ephemeral utopias of today's Mexican music.
A collective talk between Carlos Prieto Acevedo, curator of this year’s "Critical Constellations of the Audio-Machine in Mexico" exhibition, and three musicians active in Mexico’s experimental music scene.
Roberto Morales-Manzanares is a musician, composer, performer, researcher and professor. Born in Mexico City, he began his musical training in national folkloric music, learning harps from Veracruz, Michoacán and Chiapas, as well as different kinds of flutes from several regions. Morales completed a Ph.D in composition at UC Berkeley.
Alexander Bruck is a violist, violinist and improviser based in Mexico City. A longtime member of the Mexican National Symphony Orchestra, he studied in Mexico and in Paris with Garth Knox. He has been a freelance musician for the last four years, and as such he is involved in a wide spectrum of new music.
Composer and multimedia artist Carlos Sandoval was born in Mexico City in 1956 and holds dual Mexican-German nationality. His work is known for its synthesis of art, nature and technology. He is a fellow of the Mexican Sistema Nacional de Creadores (1999 to date), one of the most important recognitions from the Mexican federal government for outstanding artistic trajectories.
Mexico City native Carlos Prieto Acevedo studied philosophy at the Autonomous University of Mexico (UNAM) and specializes in aesthetic theory. He has worked extensively in diverse artistic and editorial forms, and his own research is concerned with the archive in relation to sound art and music and how it allows us to form a critique of modernity.
Experimental composer, sonic architect, performance artist and Jungian tarotist Guillermo Galindo redefines the conventional boundaries of music and the art of music composition. Galindo’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.