Artista

Guillermo Galindo

1960 en Ciudad de México, Distrito Federal, México

Datos generales
Algoritmo AI

Residencia:

Reside en California, Estados Unidos

Galerías y otras organizaciones que le representan:

Magazzino

Etiquetas:

Arte contemporáneo Arte sonoro Performance

Enlaces oficiales:

Web

Descripción del Artista

El trabajo de composición de Guillermo Galindo desdibuja los límites convencionales que definen la música y el arte de la composición musical. Bio (english) Experimental composer, sonic architect, performance artist and Jungian Tarotist, Guillermo Galindo redefines the conventional boundaries of music and the art of music composition. His 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 artistic works involving symphonic works, chamber acoustic composition, performance art, visual arts, computer interaction, electro-acoustic music, opera, film, instrument building, three dimensional installation and live improvisation. Galindo’s work has been performed and shown at major music festivals, concert halls, museums and art exhibits throughout the United States, Latin America, Europe, and Asia and has been featured on BBC Outlook (London), Vice Magazine, (London), National Public Radio (U.S.), CBC (Canada), California Sunday Magazine, Reforma Newspaper (Mexico) and the New Yorker ... Magazine. His orchestral work includes two symphonies Ome Acatl premiered in Mexico City by the OFUNAM orchestra (1997) and Trade Routes (2006) commissioned and premiered by the Oakland East Bay Symphony Orchestra and chorus. His operas include two major works: Califas 2000 and Decreation/Fight Cherries with text by MacArthur fellows Guillermo Gomez Peña and poet Anne Carson. For many years a resident composer of Guillermo Gomez Peña’s Pocha Nostra performance art troupe, and resident composer of the Unbound Spirit AADP Dance Company, Galindo developed his own brand of sonic performance art scoring created in situ and in real time. Guillermo Galindo’s chamber and solo electro-acoustic works include Haiku II (2003) (for flute and recorded natural ambience) with text by Michael McClure which opened the first series of Latin American experimental music in the US at the The Roy and Edna Disney/CalArts Red Cat Walt Disney Concert Hall in Los Angeles California. For the last several years, Galindo’s has created what he calls cyber- totemic sonic objects which are sculptural instruments based on the Pre- Colombian believe 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 (2012) incorporated his first set of cyber-totemic instruments, made from immigrant’s belongings found at the Mexico/US to a Western classical music wind quintet. The continuation of Galindo’s border instruments project is now part of a larger collaboration with photographer Richard Misrach. Border Cantos, a cross- disciplinary collaboration between the two artists, has attracted national and international media attention and will be shown at several museums in the U.S. and Mexico between 2016 and 2018 starting at the San Jose Museum of Art in February 2016. Aperture Publications will be releasing a book containing Galindo’s instruments and graphic scores together with Misrach’s photographs at the opening of the show. Examples of Galindo’s Border Cantos graphic scores can also be found at the Magnolia Editions website. A 10 year long collaboration with video artist Zen Cohen’s on a newly released documentary of Galindo’s quest to perform John Cage’s Variations II by a mariachi band has become an icon of cultural transgression and hybridity. The trailer for the film received 2000 hits on Vimeo in just 4 days after it was posted. Guillermo Galindo presently is a senior adjunct professor at the California College of Arts. He has also taught composition at Mills College and has worked as a panelist and tutor for the Jovenes Creadores and the Sistema Nacional de Creadores music composition grants in Mexico City. Recent commissioned works by Guillermo Galindo include one for the Paul Dresher Ensemble and a commission for the Kronos quartet. Some awards granted to Guillermo Galindo include: Creative Work Fund Grant (2016), New Music America Met Life Grant (2012), Sistema Nacional de Creadores Composition Fellowship, Mexico City (2012), San Francisco Friends of Chamber Music Composition Commissioning Grant (2012), Center for Cultural Innovation Grant (2011), Gerbode and Hewlet Foundation Composer Commissioning Grant in collaboration with MACLA and Quinteto Latino (2011), City of Oakland Cultural Grants (2008), ISEA Zero/One GLANCE installation commission (2006), Meet the Composer Earplay Ensemble commissioning grant (2005), Sistema Nacional de Creadores Composition Grant, Mexico City (2005-2008), Oakland East Bay Symphony Orchestral NEA Commissioning Grant (2004); Creative Work Fund Media Arts Grant (2003), California Arts Council Composers Fellowship (2000), American Composers Forum Continental Harmony Grant (1999), Composition Residency at the Banff Center for the Arts, Canada (1999).