Sound art and experimental music have created new access to the less anthropocentric dimensions of life, but also to the unconscious substratum of collective memory. The voice, analogous sound artefacts, maritime sounds and the notion of invisibility all document the intensities that arise in a post-national reality within the field of sound art in Mexico.
New ontologies and political possibilities inhabit the act of sounding, expanding notionsof matter, body and space, and deeply affecting the notions of identity and belonging that are fixed to perceptual conventions.
Ariel Guzik is an artist, musician, researcher, herbalist and inventor, self-taught in various disciplines: electromagnetic theory, electronic engineering, physics, physiology and traditional herbal medicine. His research reflects an intimate need to generate an atmosphere that fosters to the re-enchantment of the world, seeking to preserve the mystery rather than decipher it.
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.
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.
Mario de Vega is a Mexico City-born experimental sound artist. His works include site-specific interventions and experiments in psychoacoustics that frequently push the limits of audio perception. He uses challenging frequencies said to induce visceral reactions in the audience, and sound as a tool to confront contemporary issues around and personal experiences of vulnerability.