Created (XML-WORKS_COUNTRY-Mexico.xml) Open frame source for XML data.

( 138 Ultra-Red 1994 2217 images/works/Ultrared-2006-plaza.jpg Plaza Mariachi The music on PLAZA MARIACHI was originally produced for the multi-channel sound installation, Oasis Sonoro (Sound Oasis), presented in the Bellas Artes Esplanade, México City from June 15 to 25, 2006. Oasis Sonoro was directed by Francisca Rivero Lake and curated by Andrew Caleya Chetty (UK), José Wolffer, and Manuel Rocha Iturbide (México). Ultra-red members Elizabeth Blaney and Leonardo Vilchis participated in the exhibition alongside Merzbow (Japan), Chris Watson (UK), Luz Maria Sánchez (Mexico), Radioqualia (New Zealand), and Maryanne Armacher (US) to name only a few of the 12 artists involved. The album investigates the soundscape of mariachi performers who gather in México City near the Bellas Artes. This distinctly Mexican tradition of mariachi musicians assembling in the town plaza looking to be hired for parties invokes the very politics of public space in the globalized metropolis. Dogged by police, the mariachis ask; Who defines public space? By what process do cultural practices slip from the sanctioned to the precarious? For Union de Vecinos, the resonances between the mariachis of Belles Artes and East Los Angeles reveal an uncanny symmetry. Thousands of miles away from México City, police regularly displace mariachi musicians gathering on street corners looking for work. This process of displacement occurs within a long narrative of Los Angeles urban planners using the image of the mariachis to market the gentrification of East Los Angeles. In this scheme, Los Angeles own Plaza Mariachi has become a site of conflicting uses of public space. The mariachi musicians themselves have become, not just troubadours of migration, but also los operativos of precarious labor. - 2006 Mexico audio/UltraRed-2006-Mariachi.wav 52 Maryanne Amacher 1943 829 images/works/Amacher-2005-Teo.jpg TEO! A sonic sculpture In January 2004 I was invited to participate in Sound Oasis—a Francisco Rivero-Lake project, curated by Andrew Caleya Chetty, Jose Wolffer, and Manuel Rocha—a group show of twelve sound artists to be presented in the outdoor plaza at the Palacio de Bellas Artes, which is an especially popular meeting place in Mexico City. Each artist was commissioned to prepare two hours of sound for a 3D multichannel installation of 36 loudspeakers distributed throughout the plaza. Shortly before going to Mexico for a site visit, I read an Internet news release describing a collaborative research agenda just beginning in the cave directly under the huge Pyramid of the Sun in the ancient city of Teotihuacan, initiated by the physicist Arturo Menchaca, director of the National Autonomous University’s Physics Institute, and the archaeologist Linda Manzanilla, Mexico’s leading expert on the city of Teotihuacan. Sub-atomic particles created by cosmic rays from space are to be used to probe a giant Mexican pyramid and solve one of the world’s greatest archaeological mysteries. Investigators are installing detectors beneath the Pyramid of the Sun at Teotihuacan that look for muons—charged particles generated when the cosmic rays that continuously shower the Earth hit the atmosphere. Each meter-wide detector will act as an ”eye” looking upwards in search of muons. Developing TEO! became a most unusual and thrilling experience. I was able to enter the Cave under the Pyramid of the Sun with the physicists and make recordings with very simple means, which I later digitally processed in the studio. A thematic feature of the ancient city of Teotihuacan is the number four, known to be a constant presence in the city which is split into four residential zones. TEO!—composed in four parts—addresses this feature spatially in the aural architecture I designed for the sonic imaging in the plaza. Parts 1, 2, and 3 of TEO! were composed from the remnants of the recordings I made in the cave under the Pyramid of the Sun. I often find myself working with sonic debris, leftover sounds. In Part 3 for example, I initially rejected the somewhat sad ancient bagpipe-like sounds I heard. Eventually, though, I felt there was a certain truth here trying to assert existence. So I went with them, enhancing animation and presence through digital processing techniques. I was thrilled to discover a tuning for them which corresponded to the Leonid meteor showers recorded by the European Space Center. To create a circulating movement for the beginning of Part 4(A), I edited a short phrase from a banjo solo performed and processed electronically by the composer, Ralph “Woody” Sullender, whose works I admire. The banjo was chosen for its clarity in providing a distinct concentrated spatial presence, in contrast to Pts 1-3 and Pt 4(B) in which the sonic imaging is distributed spatially and geometrically throughout the plaza. Special thanks to the UNAM particle physicists’ research team led by Dr. Arturo Menchaca-Rocha, director of the Physics Institute, National Autonomous University of Mexico, and colleagues, Dr. Ernesto Belmont and Dr. Arnulfo Martinez, United States Government, Cultural Section, American Embassy, Mexico City.Golden Nica Prize @ Ars Electronica 2005 On the outdoor plaza 2005 Mexico 279 Cildo Meireles 1948 4411 images/spacer.jpg Cildo Meireles in Mexico Kuratoren: Guy Brett, Vicente Todoli, Amy Dickson Pressetext: The Museo Universitario Arte Contemporáneo (MuAC) is pleased to announce the opening of Cildo Meireles, the first extensive presentation of the artist's work, both in Europe and America. The MuAC, which is located within the Cultural Center of the National Autonomous University of Mexico, will be the only venue in America to host this major survey of Cildo Meireles' work, a unique event that should place Mexico as a major destination for the contemporary art scene during the next few months. The Brazilian artist Cildo Meireles (b. 1948) is widely recognized as one of the leaders in the international development of conceptual art. Revealing how he is particularly fascinated by scale, the works range from an object in the form of a small ring to an installation covering 225 square meters, while also bringing together several of Meireles' iconic, immersive installations. Meireles has made some of the most philosophically brilliant, politically telling and aesthetically seductive works in recent art. Since the late 1960s he has created sculptures and installations, which involve an element of participation. His deep interest in the relationship between the sensorial and the cerebral, the body and the mind, is now seen as one of the defining characteristics of the post-war Brazilian avant-garde, out of which Meireles emerged with his early works at the end of the 1960s. He has remained loyal to these origins, and to a political and ethical viewpoint formed outside the so-called cultures of plenty. Early work in the exhibition includes Meireles' Arte física from 1969, reflections about distance and borders in relation to the vast land of Brazil. His Condensado series features small works that demonstrate that the potency of an artwork is not restricted to its size. The artist further explores space and scale in his drawing series, Espaços Virtuais: Cantos 1967-8. Meireles' celebrated Insertions into Ideological Circuits 1970, by which he devised a method to disseminate messages of protest under the military dictatorship in Brazil, and his Zero Dollar/Zero Cruzeiro project 1978-84 and 1974-78, are also exhibited together with smaller-scale philosophical objects dealing with questions of perception such as Oscura luz 1982. Among the highlights are several large-scale installations. These include Através 1983-9, a labyrinth of barriers that the viewer is invited to navigate, and at the heart of which shines a vast ball of crumpled cellophane. Another is Desvio para o Vermelho 1967-84, an all-red apartment filled entirely with red objects leading through a darkened corridor to a room with a pool of red liquid on the floor and a sink running with red water, loaned from Collection Inhotim Centro de Arte Contemporânea in Brazil. Babel 2001, a gigantic tower of more than 800 radios, all tuned at low volume, forms a startling yet complex contemporary take on the mythical tower of the world's languages. The exhibition ends with Volatile 1980-94/2008, a multi-sensory environment through which visitors are invited to walk, playing with our response to danger, real or imagined. The exhibition is curated by writer and curator, Guy Brett and Vicente Todolí, Director Tate Modern, with Amy Dickson, Assistant Curator, Tate Modern, and is accompanied by a fully illustrated catalogue. Throughout the duration, the MuAC will organize a series of parallel activities, ranging from a full program of lectures, to a film cycle devoted to the Brazilian avant-garde of the sixties and seventies. Organized by Tate Modern, in association with Museo Universitario Arte Contemporáneo 2009 Mexico 9 Max Eastley 1946 1801 images/spacer.jpg - - 2002 Mexico 275 Alicia Urreta 1930 4283 images/spacer.jpg Ralenti - 1969 Mexico 276 Manuel Enriquez 1926 4292 images/spacer.jpg La reunión de los saurios for electronic sounds. - 1971 Mexico 276 Manuel Enriquez 1926 4294 images/spacer.jpg Mexican music record Recording of Mexican music with the Cuarteto México. - Records a Mexican music record for the series Voz Viva de México with Jorge Velazco 1974 Mexico 276 Manuel Enriquez 1926 4295 images/spacer.jpg Trauma , for actress, 4 musicians and electronic sounds. 1974 Mexico 277 Manuel Rocha Iturbide 1963 4301 images/spacer.jpg Sound Art in Mexico - 2005 Mexico 227 Llorenc Barber 1948 3632 images/spacer.jpg Music for a transit cosmic 1991 Mexico 282 Galia Eibenshutz 1970 4306 images/works/Eibenschutz-2001-america.jpg Buenos Días América! This projection, the fruit of a collaboration between the visual artist Galia Eibenschutz (Mexico City, 1970) and the filmmaker Alexis Zabé (Mexico City, 1970), shows us the kind of wandering that takes place in one of the major meeting points of Mexico City. The image and the raw recorded sound - a veritable acoustic battle between the sidewalk vendors, actors of the informal economy - gives form to the natural evolution of the rhythms that structure the city, providing an account of the different articulations on which everyday life is based. Accessed 15.06.2009 from - 2001 Mexico 284 Gabriel Kuri 1970 4308 images/spacer.jpg Clouds - 2004 Mexico 286 Gabriel Orozco 1962 4310 images/spacer.jpg Ligne d'abandon based on the screeching sound of a car wheel, made in collaboration with Manuel Rocha Iturbide at Galerie Chantal Crousel in Paris. The convergence of music and sculpture through a process of interactive collaboration and the use of digital technology in making the sound piece "Ligne d'abandon". Ligne d'abandon is a sound piece I produced in collaboration with the Mexican Artist Gabriel Orozco. It was shown at the Chantal Crousel Gallery in Paris during Orozco's exhibition in December-January of 1993-94. As I discuss this sound piece and the process I undertook in collaboration with Orozco, I would like to place emphasis on the term "convergence." The word denotes two lines that lead toward the same point; the action of heading toward a common goal. The term is also applied when referring to the resemblance among different species that do not descend from the same ancestral species. This last definition, employed in the theory of evolution, explains how two disciplines as different as music and sculpture can converge at a point that reflects a single concern and the same content. The primary difference between music and sculpture is the temporal aspect of each discipline. In the former, time is disclosed by the artist; in the latter, time is disclosed by the public. In conceiving the piece, I asked myself if it would be possible to find a middle ground between these two different approaches to time, and by working interactively with Gabriel Orozco, I discovered that one thing we achieved was finding this middle ground. I think that this is reflected in our work, which features compositional structure and different possibilities as to interacting with the public. These interactions take place by using silence as an important element, but the final result - the structure of sound and silence in the piece - was determined by our mutual emphasis on the conceptual characteristics of the "sound object" (Schaeffer, 1966) which served as a central factor in our work. In order to be developed, these concepts were necessarily linked to an action that could only take place in the domain of technology. The action was the manipulation or transformation of a natural sound object through digital means. We know that at present various digital techniques have been developed so as to work with sound in the way an artist uses different tools to work with stone or other materials to create a sculpture. This new approach to sound has narrowed the gap between the disciplines of music and the visual arts, and it has also refigured the notion of creating music by way of noise. The Futurist Luigi Russolo first developed these ideas at the beginning of the century. Later on, composers such as Edgar Varese and John Cage were crucial in extending music so as to include a variety of noises. But it wasn't until the appearance of the tape recorder that concrete musicians in France began to work with noise in a systematic way. Finally, the ideas developed by Murray Schafer about interacting with and being aware of our "soundscape" (Schafer, 1964) at last dispelled any remaining doubts about using a wide range of sounds in music. Accepting noise as a musical element has forced music to converge with other disciplines such as poetry, theater, architecture, performance, and other forms of art, which use sound as an important element. Also, composers have had to address conceptual ideas related to noise. The sound of a water stream, in addition to being a physical timbre, is also the concept of water, which conveys the ideas and symbols related to it. This has forced composers who use noise in music to think in ways not unlike visual artists who constantly work with signs and symbols. At present, the computer has given way to an extremely rich and innovative potential for transforming sound. It has also opened up the possibility of altering the symbolic meaning of sound. On this account, composers run the risk of getting lost in technique, instead of focusing on what they mean to communicate by transforming a specific sound object. Through my experience as a sonic designer, I have found that every concrete sound can be disclosed in time by exploiting its physical qualities (timbre) and symbolic resonance (Rocha, 1995). In this sense, not every kind of manipulation is favorable when aiming to express the essence of the original sound. In other words, not every transformation can make germinate the seed which contains the hidden and potential characteristics of that sound. In reading the work of Carl Jung, I have found that just as we can find archetypal symbols in the images of our dreams (Jung, 1964), we can also find these type of symbols emerging from our internal sound images. Naturally, we don't usually dream with sound, but daily environmental sounds plunge into our unconscious even if we fail to notice, and some of the archetypes created by these sound images have been transmitted to us genetically since prehistoric times. One of these ancient sound symbols could well be the sound of an earthquake, which can reflect a sense of imbalance and destruction. Other sound images, such as machine noises, have come to us in more recent times. If I have brought up Jung's theory about the psyche, it is because art often has been produced through the use of archetypal symbols. But returning to the issue of technology as a means of transformation, what happens when we manipulate a physical sound object? In addition to transforming the timbre, we alter the archetypal symbols that belonged to it. By so doing, metaphors emerge together with new symbols related to the original. We can always make all kinds of transformations that give way to new and interesting sounds, but if they are forced out of their matrix, these new sounds can also lose the imprint of their original ancestor. This is why I believe in discovering the intrinsic characteristics of a sound without losing sight of its essential physical quality (timbre) and symbolic nature, in the way an individual would have to find the true archetypal symbols related to his or her dreams in order to find the missing link between the conscious and unconscious worlds. The process that takes place in the dreamer suggests an analogy that can be established in an artwork. The eternal quest for any discipline is the search for balance and connection between form and content. Through my personal experience I have come to the conclusion that emphasis should always be placed on content and that only then can we find the proper container or form for it. Perhaps I should speak of discovering form, because when there is a concentration on content, form arises in a natural way. In the case of our sound piece, the form resulted from working with content through technological means. Gabriel Orozco and myself wrote the remaining text that follows. It addresses the genesis and structure of the sound piece Ligne d'abandon in order to clarify the ideas I have exposed so far. "Ligne d'abandon is a sound piece based on the noise generated by the screeching wheels of a car. This noise and its relationship to a possible accident intrigued us. The uncertainty as to what can happen afterwards: the screeching noise generates a range of feelings related to the void, suspended time, or total collapse. We were also drawn to the characteristics of its source, and the possibility of expressing this aurally: the friction of the car wheel on the pavement, the rubber tire grazing against a hard surface, being eroded and leaving its imprint (as related to Orozco's work Piedra que cede and La extension del Reflejo). Moreover, we chose this noise because of its intrinsic quality in terms of timbre: its high frequency, which is piercing, can also produce anguish. We decided to extend the physical and metaphoric qualities of the screeching wheel by manipulating the sound with a computer. By stretching and contracting it into different lengths with a "Phase Vocoder," and by also multiplying the unmodified sound (Convolution), the spectral characteristics were strengthened. The sound was then filtered to lighten the presence of high frequencies. From the original sound, which lasted seven seconds, and the longest stretching, which lasted forty seconds, we chose seven different transformations of various lengths that span from forty seconds (the longest) to two seconds (the shortest). We then structured the piece by using two series of time durations. One of the series consists of five sounds in decreasing order, the last always altered into one of three possibilities. The other series consists of eight durations of silence in decreasing order, each silent duration coupled with a sound. As a result, we initiated a process that begins with long sounds and silent duration’s being reduced. Since there are eight silent durations and only five sound duration’s, at a certain point the sounds begin to drift out of phase as they combine in an "accidental" way. When this mechanism comes to an end, it begins again with the five isolated sounds in decreasing time order. The whole process lasts for thirty minutes. In the sway of sounds drifting out of phase and the silent duration’s, there are long moments in which nothing is heard, and others in which all sounds are combined together. "Accident" and "Chance" generate their own orbit. On the other hand, the static qualities of the sound give the piece stability and a sense of continuum, even if at certain moments there is a strange simultaneity of events. During the actual playing of the piece in a specific space the long periods of silence are relevant, since people can come in and out of the space without knowing at what point the piece is playing. (The piece is played continuously, so we advise you to activate the repeat function of your CD player.) However, Ligne d'abandon can also be listened to in linear form, from beginning to end, thanks to five isolated sounds that mark the beginning. It might be worth mentioning that this sound work was developed parallel to the process of making La DS. In that piece, a Citroen DS was spliced lengthwise along two parallel lines, removing the center space (62 cm.). The two halves of the automobile were then reassembled. This intervention produced further contractions and extensions of the car's inherent characteristics as an object made for movement. Finally, we should add one final note. Under normal circumstances a car moves in one direction; when the car loses this impetus, it skids. After this skid the car can either return to its earlier orbit or come to a halt (by way of collision). But what happens when this skidding becomes a continuum? A new orbit is generated. The new ellipse after the abandonment; a new possible orbit of infinite screeching". A CD of Ligne d'abandon has been edited by the Chantal Crousel Gallery in Paris, 40 RUE QUINCAMPOIX 75004, PARIS. Fax (331) 42 77 59 00. References DREYFUS Charles. (1989). Happening and fluxus. Catalog of the exhibition Artistes des happenings et de Fluxus. Galerie 1900-2000. Galerie du genie. Galerie de poche. JUNG C.G. (1964). The man and his symbols. Aldus Books limited. New York. OROZCO Gabriel. (1993). GABRIEL OROZCO. Essays by Benjamin H.D. Buchloh and Jean Fisher. Published by The Kanaal Art Foundation, Kortrijk. ROCHA ITURBIDE Manuel. (1991). About John Cage. Published in the magazine La Pus Moderna, No 3. Mexico DF. ROCHA ITURBIDE Manuel. (1991). Contemplation and Action. MFA thesis about the structure of the multimedia concert Contemplation and Action and its music. ROCHA ITURBIDE Manuel. (1992). Genèse et developpement de l'objet sonore naturel dans la musique eléctroacoustique. DEA thesis. ROCHA ITURBIDE Manuel. (1995). Unfolding the natural sound object through electroacoustic composition. In Journal of New Music Research, Volume 24, December 1995. RUSSOLO Luigi. (1973). L'art des bruits. in L'annee 1913, vol 3 (Klincksieck). SCHAEFFER Pierre. (1966). Traite des objets musicaux, Ed Seuil, Paris. SCHAFER R, Murray. (1977). The tuning of the world. New York: Knopf. VARESE Edgar. Excerpts from lectures by Varese. Compiled and edited with footnotes by Chou Wen-Chung. Accessed 14.06.2009 from - 1994 Mexico 290 Luz Maria Sanchez 1970 4314 images/spacer.jpg Radio1 Dimension: variable. Duration: 6:03 minutes. 1997 Mexico 291 Laureana Toledo 1973 4315 images/spacer.jpg The Limit a Mexican cover-band that borrowed its name from a Sheffield cult rock venue of the eighties. The Limit interpreted songs of popular local bands such as Def Leppard, Pulp and The Human League and toured to Sheffield where they performed to local audiences. This work looks at the processes of a local phenomenon 'gone global'. By taking the music back to Sheffield Laureana shows how it has acquired new layers of meaning. Accessed 14.06.2009 from - 2005 Mexico 292 Juan Jose Gurrola 1935 4316 images/spacer.jpg En busca del silencio-Escorpion en ascendente This is an LP recorded by the eclectic Mexican Theater Director Juan José Gurrola in the early Seventies with various friends (Victor Fosado: Percussion, Roberto Bustamante: electric Guitar, Eduardo Guzman: Trumpet). It is an unknown record, only a few copies were made. It is a rare example of Mexican experimental music, free jazz, alternative music, at that time. I consider Gurrola a pioneer of sound art in Mexico, along with Alejandro Jodorowsky who was a good friend of his back in the sixties. On 2007, the curator Mauricio Marcin did an exhibition of Gurrola's artistic works and he asked me if we could make a CD of this forgotten LP, but inviting electronic composers to do remixes, sound interventions or works inspired in the different tracks of Gurrola's LP. I had already suggested this to Gurrola, and so he agreed and I invited 20 Mexican people to participate. It became sort of homage to this grate interdisciplinary artist, that sadly died recently, just after the CD was published. I present also here the works of these composers. Accessed 14.06.2009 from - 1973 Mexico 293 Francis Alys 1959 4317 images/spacer.jpg Paradox of Praxis the artist pushed a block of ice through the streets of Mexico City until it melted, - 1997 Mexico 290 Luz Maria Sanchez 1970 4324 images/works/Sanchez-2008-2387.jpg Untitled [wall sounds] Shown in these two installation shots are a visitor interacting with and listening to the sound installation, and the electronic device hidden behind the wall. The piece is comprised of many elements revolving around the sound piece which incorporated four 20-second audio loops of a crying baby, a woman singing in the shower, the sound of a wrestling match broadcast on television, and a couple having sex. In order to hear these intimate, domestic sounds the visitor must actively seek them out; the audio cannot be heard without the aid of a glass. In an otherwise empty and silent space, four glasses hang from the ceiling by string. Marked in four places on the wall are X's, marked inline with the hanging glasses. By placing the glass against the wall, over the X mark, and placing one's ear against the glass, the visitor could receive the piece-the glass operates as an amplifying device. Like living in a dense environment the audio is heard at a low volume, and like eavesdropping one must pay close attention to really hear each piece. Accessed 14.06.2009 from 4 parts each of glass, string, speakers, electronic devices, 20-second sound loops Dimensions: Variable 2000 Mexico 287 Fernando Ortega 1971 4326 images/works/Ortega-2007-Piano.jpg Piano 2007 Mexico 287 Fernando Ortega 1971 4327 images/spacer.jpg Untitled 1998 Mexico 287 Fernando Ortega 1971 4328 images/spacer.jpg Piano Recital Ortega asked a motor-cycle mechanic to tune a piano, on which pieces by Chopin and Rachmaninov were then played. Contrasting the tuning of a carburettor with the tuning of a keyboard instrument, Ortega relied on his audience’s musical memory to create a piano recital in their minds. (MG) Accessed 16.06.2009 from 2008 Mexico 277 Manuel Rocha Iturbide 1963 4329 images/spacer.jpg Avidya 1989 Mexico 277 Manuel Rocha Iturbide 1963 4330 images/spacer.jpg Atl 1990 Mexico 277 Manuel Rocha Iturbide 1963 4331 images/spacer.jpg Frost clear energy saver for refrigerator, tape and double bass 1991 Mexico 277 Manuel Rocha Iturbide 1963 4332 images/spacer.jpg Bandas de pueblo tape, French horn, trombone, tenor saxophone, soprano saxophone, trumpet, percussion, and a Mexican Village Band 1991 Mexico 277 Manuel Rocha Iturbide 1963 4333 images/spacer.jpg Transiciones de fase for brass quartet and computer 1993 Mexico 277 Manuel Rocha Iturbide 1963 4334 images/spacer.jpg SL-9 digital tape using granular synthesis techniques 1994 Mexico 277 Manuel Rocha Iturbide 1963 4335 images/spacer.jpg Móin Mór 1995 Mexico 290 Luz Maria Sanchez 1970 4435 images/works/Sanchez-2009-Police.jpg Untitled [police radio] This sound installation captures the swelling aggression on the US-Mexico border region employing sound generated by radio frequencies used by the Nuevo Laredo police. Nuevo Laredo is a border city opposite its twin, Laredo, Texas, on the other side of the Rio Grande in the state of Tamaulipas, Mexico. Sampled together are recent and pre-recorded recordings of activity registered on the regional police frequencies. The main sound sample that is the focal point of the piece transcribes a fight between the Nuevo Laredo police and a criminal group not identified. Six-channel sound installation. Media: 24 power horns, 3 cd players, and 3 receivers.Dimensions: variable. Original duration: 10 minutes. 2009 Mexico 290 Luz Maria Sanchez 1970 4436 images/works/Sanchez-2002-Fan.jpg Untitled [fans] This sound installation focuses on concepts of sound and space that exist independently of prescribed audio (digital or analogue) elements. Installed within a small gallery at the MUCA Roma (the Museo de Ciencias y Artes) as part of the International Sound Festival of Mexico City, were four medium floor fans were attached to the walls, each facing the other. Emanating from the piece, in addition to a continuous breeze, was sound: the sound of the fan blades, the sound of the windy atmosphere created by the fans, and the sound from the various ways the atmosphere was penetrated by the audience. Four floor fans. Dimensions: variable. 2002 Mexico )