Works performed by Earplay:

Post-colonial Discontinuum
Plink!

Redrawing the conventional limits that define "music" and the art of "music composition" are key factors in the artistic work of Guillermo Galindo. His extensive interpretation of concepts such as musical form, time perception, music notation, sonic archetypes, and his original use of sonic devices span a wide spectrum of artistic works performed and shown at major music festivals, concert halls, museums and art exhibits throughout the United States, Latin America, Europe, and Asia. From symphonic works and chamber acoustic composition to live performance art, his work explores the domains of the musical and visual arts, computer interaction, electro-acoustic music, opera, film, instrument building, three dimensional installation and improvisation.

Galindo’s orchestral work includes two symphonies: Ome Acatl (1997) and Trade Routes (2006). His operas include two major works: Califas 2000 with text and performance by Guillermo Gomez Peña and Decreation/Fight Cherries with text by poet Anne Carson. 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 Disney Concert Hall in Los Angeles.

For many years a member and composer of Gomez Peña’s Pocha Nostra performance art troupe, and resident composer for the Unbound Spirit AADP Dance Company (1992 to 2004), Galindo has developed his own brand of in situ performance art live composition. This real time scoring weaves musical form and sequential narrative using sonic archetypes while feeding from the ongoing performance improvised narrative and audience interaction.

Galindo’s recent works include the creation and performance of his cyber-totemic sonic objects, connecting the physicality of objects and the production of sound. Based on concepts of Mesoamerican civilizations, Galindo reestablishes the intimate connection between sound and the physical world that has been gradually fading due to today’s virtual realities. His piece Voces del Desierto incorporates instruments made of immigrants' belongings found at the Mexico/US border. The continuation of his border instruments project is part of a larger collaboration with photographer Richard Misrach that has attracted national and international media attention. A multidisciplinary exhibit of Galindo’s border instruments, sound installations and scores, together with Misrach’s monumental photographs of the border, will be shown at the San Jose Museum of Modern Art and the Amon Carter Museum in Arizona during the spring of 2016. This exhibit will tour nationally and internationally through 2018, including live musical performances. A book containing Misrach’s photographs and Galindo’s instruments and graphic scores will be published by Aperture by December 2015.

Centered on but not exclusive to the border project, Galindo’s latest works deal with humanitarian, cultural and socio-political issues. Projects such as the video trailer of his documentary based on the interpretation of John Cage’s Variations II by a mariachi band received 2000 hits on Vimeo in just 4 days.

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 collaborations include the Paul Dresher ensemble with Amy X Neuburg and Mexican photographer Maya Goded. His website is galindog.com.

[from program for May 18, 2015 concert]

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