Anchored by the CTM 2017 Exhibition "Critical Constellations of the Audio-Machine in Mexico" that examines the history and current status of sound art and electronic music in Mexico, CTM Festival’s Mexico focus is expanded with divergent voices in the music programme.
Planned in collaboration with exhibition curator Carlos Prieto Acevedo, this first of two nights at HAU2 will feature a special version of Guillermo Galindo’s "Sonic Borders II", a multimedia project with live electronics and hybrid instruments created from objects lost by some of the countless persons attempting to cross the Mexican-US border.
Trained in a broad range of Mexican national folkloric instruments, Roberto Morales-Manzanares metamorphosizes inspirations from nature, Mexican literature, algorithmic composition and real-time gesture interaction into a surround-sound performance with mayan harp, wii controllers, and electronics.
Using a repertoire of field recordings, radio, and cassette devices, Angelica Castelló journeys through the enigmatic land of lost memories, death and fragility of traumatic encounters.
Feedback, hidden resonances, the dramaturgy of vocal gestures and customised microphone devices are used by Carmina Escobar in an intimate operatic story.
CTM 2017’s Mexico focus is supported by the FONCA (National Fund for the Arts and Culture, Mexico), AMEXCID (Ministry of Foreign Affairs, Mexico / Dual year Mexico-Germany program), Fundación Cultural Bancomer, and the Embassy of Mexico in Berlin.
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.
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.
Using field recordings, radio and cassette devices, composer and sound artist Angelica Castelló journeys through the enigmatic land of lost memories, death and traumatic encounters. Born in Mexico City, Castelló studied classical recorder in Montreal and Amsterdam before settling in Vienna, where she currently lives and teaches.
Experimental vocalist Carmina Escobar is a performer, improviser, sound and intermedia artist from Mexico City. Her work focuses primarily on sound, the voice, the body, and their interrelations to physical, social, and memory spaces. She is the co-founder, co-director and vocalist of LIMINAR.