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CARLOS SANDOVAL
ABOUT
RECENT
WORK
TWO
ONTOLOGIES
STATEMENT
CV / VITA -
PDF
CARLOS SANDOVAL, ARTIST
FORMATION
He studied music analysis, theory, and
composition at the Escuela Nacional de
Música, UNAM, Mexico City, and privately
with Julio Estrada (1985–90). He built
and voiced pianos at the Bösendorfer
factory in Vienna (1980–82, studied
analogue photography in Mexico and
Austria, and digital video production in
Germany. From 1991 to 1994 he worked as
assistant to Conlon Nancarrow in Mexico
City. His formation was hands-on,
cross-disciplinary, and deliberately
outside institutional certification.
His works have been exhibited or
performed at the Akademie der Künste,
Berlin; the Strawinsky Saal,
Donaueschingen; the Museo Universitario
de Arte Contemporáneo, Mexico City; the
Museum of the Seam, Jerusalem; the
Chongqing International Culture Art
Center, China; the Americas Society, New
York; the Théâtre d'Orléans, France; the
Théâtre des Bouffes du Nord, Paris; the
Lawrence Batley Theater, Huddersfield;
and the Deutsches Hygiene-Museum,
Dresden, among others.
SOLO SHOWS OR
PERFORMANCES
2018 — Fatalismo Mágico,
in PROYECTO LÍQUIDO DESEO, open air and
double-vinyl edition, San Lorenzo, Milpa Alta,
Mexico City. Curator: Jessica Berlanga, Alumnos
47. With Mariana Castillo Deball.
2016 — Viertel Nach
Schatten, 30th anniversary, Grazer
Kunstverein, Orangerie, Graz, Austria. With
Mariana Castillo Deball.
2012 — Ursula: The Art of
Dying, Deutsches Hygiene-Museum, Dresden,
Germany.
1982 — 14 Zeichnungen, 6
Aquarelle, 5 Photomontagen, 15 Photos,
Modena Art Galerie, Vienna, Austria.
1982 — Zeichnungen und
Aquarelle, Internationaler Studenten Club,
Vienna, Austria.
GROUP
EXHIBITIONS AND PERFORMANCES
(for a comprehensive list
click
here)
2025 — Mona 1 and Tent
Visions, in SHELTER, GlogauAIR Project
Space, Berlin, Germany. Curated by Yulia Ani and
Julia Shanaytsa.
2025 — Fatalismo Mágico,
in PEPENANDO ANDO, Casa de la Cultura San
Rafael, Mexico City. Curated by Colectivo La
Central. With Mariana Castillo Deball.
2024 — Nubes y Nómadas 2,
Berliner Kabarett Anstalt, BKA Theater, Berlin,
Germany.
2024 — Fatalismo Mágico,
in DIBUJAME UN MAPA DE LO QUE NO VERÁS, Casa del
Lago UNAM / JUMEX Arte Contemporáneo, Mexico
City. Curated by Monica Ramirez and Adriana
Melchor. With Mariana Castillo Deball.
2023–24 — Post-COVID Series,
in TRASCENDENCE: A FUSION OF ART AND CULTURE,
Chongqing International Culture Art Center,
China. Curated by Pashmin Art.
2021 — Nubes y Nómadas,
in VERTIXE 9, Auditorio da Xunta de Galicia,
Pontevedra, Spain.
2020 — Blind Box, in
ZU-FALL, Mexican Embassy in Germany, Berlin.
Curator: Vanessa Enriquez.
2019 — Biberdamm Assut,
in UP TO THREE 2019, Ackerststadt Palace,
Berlin, Germany. Curator: Bettina Junge.
2018 — Maquina Latina,
in MODOS DE OÍR: PRÁCTICAS DE ARTE Y SONIDO EN
MÉXICO, Ex Teresa Arte Actual / Laboratorio Arte
Alameda, Mexico City. Curator: Carlos Prieto.
2018 — The Six Lost Songs,
in THE GRAND PIANOLA PROJECT I AND II, Americas
Society, New York, USA.
2018 — Die Tränen der Dinge,
in AUTONOME MUSIK 4, "SCHALTUNGEN", Kesselhaus,
Kulturbrauerei, Berlin, Germany.
2018 — Hidden 2, in
THE WOMEN BEHIND, Museum of the Seam, Jerusalem,
Palestine. Curator: Raphie Etgar.
2017 — Se Fueron los
Pájaros — a soundscape for deaf people, in
A CENTURY OF NOISE IN MEXICO, Kunstquartier
Bethanien, Studio 1, Berlin, Germany.
2017 — The Mexican National
Anthem as I Recall it from my Childhood, in
CONSTELLATIONS OF THE AUDIO MACHINE IN MEXICO,
HAU 2, Berlin. Festival CTM. Curator: Carlos
Prieto.
2016 — Teleprompter 2,
Akademie der Künste, Studio, Berlin. Ensemble
Kollektiv.
2016 — Antilegos 1, 2, 3,
in DISKRETE MASCHINEN, Klangspuren Schwaz,
Tiroler Festival für Neue Musik, Treibhaus Turm,
Innsbruck, Austria.
2015 — Teleprompter 1,
NDR-Das Neue Werk, Resonanzraum, St. Pauli,
Hamburg, Germany.
2015 — Antilegos 1, 2, 3,
DONAUESCHINGER MUSIKTAGE 2015, Strawinsky Saal,
Donaueschingen, Germany.
2015 — One Minute for John
Cage, in 125 PARTY PIECES FOR JOHN CAGE,
Miller Theatre, New York, USA / Galerie für
Zeitgenössische Kunst, GfZK, Leipzig, Germany.
2013 — Maquina Latina,
PIANO+ Festival 2013, ZKM, Karlsruhe, Germany.
2012 — Lips Revisited,
Body Controlled Number 5 — Gestures, Lab for
Electronics Arts and Performance, Berlin,
Germany.
2010 — Traslapes Sonoros y
Otras Averiguaciones Previas, Museo
Universitario de Arte Contemporáneo, MUAC UNAM,
Mexico City.
2010 — Qu Trompa,
Berliner Gesellschaft für Neue Musik, Museum im
Wasserwerk, Berlin, Germany.
2010 — Coro_MD,
Festival Primavera en La Habana, Basílica Menor
del Convento de San Francisco de Asís, Havana,
Cuba.
COMMISSIONS,
1994–2023
2023 — Mateo (Klangwald-KlangPlatz,
DE) 2021 — Nubes y Nómadas
(Vertixe Sonora Ensemble, ES) 2020–21
— Hearing in Bed (LIMINAR — Ensemble
Contrechamps, Pro Helvetia Foundation, FR-MX)
2019 — Biberdamm-Assut
(Ensemble Mosaik, DE) 2019 —
Kammlagen (Initiative Neue Musik, DE)
2018 — Die Tränen der Dinge
(Siemens Stiftung — Ensemble Mosaik, DE)
2018 — Teleprompter (Siemens
Stiftung — Ensemble Mosaik, DE) 2018
— The Six Lost Songs (Americas Society,
USA) 2016–17 — Fatalismo
Mágico, with Mariana Castillo Deball (Fundación
Alumnos 47, MX) 2016 —
Antilegos (Siemens Stiftung — Ensemble
Mosaik, DE) 2016 — Viertel
Nach Schatten, with Mariana Castillo Deball
(Grazer Kunstverein, AT) 2016 —
The Mexican National Anthem as I Recall it
from my Childhood (Carlos Prieto, MX-DE)
2016 — Perchtenlauf in
Klotzenberg (Grazer Kunstverein, AT)
2015 — One Minute for John
Cage (Forum Zeitgenössischer Musik, DE)
2015 — Antilegos
(Siemens Stiftung — Ensemble Mosaik, DE)
2014 — Teleprompter 1 (NDR-Das
Neue Werk, DE) 2014 —
Maquina Latina (Ernst Surberg, DE)
2010 — El Instrumento (Tanzkiosk
Festival, DE) 2008 —
Mosaicos 1 and 2 (Ensemble Mosaik, DE)
2007 — The Body of Ligia
(5+1 Festival, DE) 2007 —
Qu Trompa (Paul Hübner, DE) 2004
— Qu Vara (Hilary Jeffery, UK)
2004 — Petenera (Christelle
Séry, FR) 1994 — Fast Piece
for Player Piano (Donaueschinger Musiktage,
DE)
FELLOWSHIPS,
1999–2018
The
Sistema Nacional de Creadores de Arte (SNCA)
was one of Mexico's highest distinctions
awarded to artists by the federal government.
Sandoval held the fellowship continuously for
nearly two decades — an exceptional record.
2015–18 — Sistema Nacional de
Creadores de Arte, Mexico 2009–12
— Sistema Nacional de Creadores de Arte, Mexico
2007–09 — Sistema Nacional de
Creadores de Arte, Mexico 2004–07
— Sistema Nacional de Creadores de Arte, Mexico
1999–03 — Sistema Nacional de
Creadores de Arte, Mexico
GRANTS,
1990–2023
2023 — Kammlagen (INM,
DE) 2010 — Klangkaskaden
(EU, DE) 2009 — Interaktion
Festival 1, Die Schaukel (INM, DE)
2009 — Interaktion Festival
2 (INM, DE) 2007 —
Baumberauschen (EU, DE) 2007
— Sotavento (GSLI, FSL, IT-MX)
2006 — The Birth of a Ship (Senatsverwaltung
für Wissenschaft, Forschung und Kultur — TU
Studio, DE) 2003–04 —
Mextoys (Senatsverwaltung für Kultur,
Hamburg, DE) 2001 — Música
sin Fronteras, book (CONACULTA, CNA, INBA,
MX) 2001 — La Pasión Según
la Gente, performance and CD (PACMyC, ICM,
MX) 1999 — La Pasión Según
la Gente (FONCA Mor, MX) 1995
— Zwei Stücke für Cello und Klavier (FONCA-Mor,
MX) 1990 — 35. Internationale
Ferienkurse für Neue Musik, Darmstadt (Darmstadt
Sommerferienkurse, DE)
RESIDENCIES,
1989–2005
2005 — Stichting voor Elektro
Instrumentale Musiek (STEIM), Composer in
Residence, Amsterdam, NL 2001 —
CNCA, DIFOCUR, Composer in Residence, MX
2000 — CNCA, IBAEC, Composer in
Residence, MX 1999 — STEIM,
Composer in Residence, Amsterdam, NL
1996 — STEIM, Composer in Residence,
Amsterdam, NL 1994 —
Donaueschinger Musiktage, Residence, DE
1993 — Remy-Demy Productions / D.
Trimpin, Fast Piece for Player Piano,
orchestration residence, USA 1990–91
— Les Ateliers de l'UPIC, Homenaje,
Bourse de Stage, Ministère des Affaires
Étrangères, FR 1989 — Deuxième
Atelier International Autour de l'UPIC, FR
WRITINGS ABOUT
THE WORK, 1994–2024
Selected critical and documentary texts.
Entries marked ★ represent sustained
analytical engagement with the work.
★
2022 [ARTICLE-ESSAY] Woodruff,
Jeremy, "Composing Sociality: Towards an
Aesthetics of Transition", in Bloomsbury
Handbook of Sound Art, United Kingdom. —
The most substantial academic text on
Sandoval's practice to date, situating his work
within the broader field of 21st-century sound
art.
★
2016 [PAPER MAGAZINE] Saxer,
Marion, "Präzenz und ihre Reflexion. Live
Erfahrung in Medienintegrativer zeitgenössischer
Musik", Positionen 107, pp. 6–10,
Germany.
★
2017 [ARTICLE-ESSAY] Landl,
Bettina, "Das Licht des Goldes in der Dunkelheit",
essay on Viertel Nach Schatten, in
Jahrbuch Volkskultur Steiermark 2016,
Volkskultur Steiermark, Graz, Austria.
★
2016 [PAPER CATALOGUE] Zwenzner,
Michael, "Carlos Sandoval, Antilegos 1–3", in
Klangspuren Schwaz, Tiroler Festival für
Neue Musik, pp. 63–65.
★
2010 [PAPER BOOK] Chamy, Diego,
"Interaktion Festival — a critical defense /
eine kritische Verteidigung", in
Echtzeitmusik, Beins, B. / Kesten, Ch. /
Nauck, G. / Neumann, A. (eds.)
★
2024 [EXHIBITION BOOKLET] Khazaie,
Davood, "Carlos Sandoval", in Trascendence:
A Fusion of Art and Culture, Chongqing
International Culture Art Center, China.
★
2022 [VIDEO INTERVIEW] Souto, Ramon, "Tiempo
Mareado, un encuentro con Carlos Sandoval", in
Vertixe Sonora, 10 años, Spain.
2020 [ONLINE NOTE] López-Cano,
Rubén, "Hearing in Bed", online booklet and
video, Foro Internacional de Música Nueva Manuel
Enríquez, Mexico.
2017 [RADIO REPORT] Buhre,
Franziska, "Avantgarde aus Mexiko", 6'34", on
The Mexican National Anthem as I Recall it
from my Childhood, SWR2, Germany.
2016 [ONLINE ARTICLE] Brown,
Jeffrey Arlo, "Buried, On the Paul Sacher
Stiftung", VAN Magazine. On Sandoval's
work as Nancarrow's assistant.
2016 [NEWSPAPER] "Ritual des
Übergangs", Kleine Zeitung Steiermark,
on Viertel Nach Schatten.
★
2016 [ONLINE MAGAZINE] García Pérez,
Guillermo, "Un Antipaisaje Sonoro", interview on
Se Fueron los Pájaros.
2015 [RADIO] Silva, Raúl,
"Carlos Sandoval", El Arte de la Memoria,
segunda temporada, IMRT-Mixcloud, Mexico.
2015 [PAPER BOOK] Osorno,
Guillermo, "Carlos Sandoval", in El Mundo en
las Manos, Creadores Mexicanos en el Extranjero,
SRE, Papel Metal.
2010 [PAPER BOOK] Hocker,
Jürgen, "Carlos Sandoval", in Faszination
Player Piano: Das selbstspielende Klavier von
den Anfängen bis zur Gegenwart, Edition
Bochinsky, pp. 295 and 313.
2010 [PAPER MAGAZINE] Cailleux,
Jérôme-Henry, "Piano Contemporain aux Bouffes du
Nord", La Lettre du Musicien.
2010 [PAPER PROGRAM] Astor,
Dorian, "PfMd-01", programme book.
2009 [ONLINE MAGAZINE]
Bolognesi, Bertrand, "Les Amériques d'Orléans",
on PfMd-01 for piano and tape.
★
2009 [ONLINE MAGAZINE] Wochnik, Thomas,
"Carlos Sandoval, Setting in Motion", composer's
portrait, Cast Your Art.
★
2009 [RADIO INTERVIEW] Vicente,
Antonio; Álvarez de Olate, María, in TRAVESÍAS,
Instituto de Radio-Televisión Española.
2008 [RADIO] Worby, Robert, "Mosaicos",
Huddersfield Highlights, BBC Radio 3, UK.
★
2007 [TELEVISION] Wiese, Jan, "Klingende
Bäume", RBB German Television, Germany.
★
2007 [CATALOGUE] Menet, Jean-Luc, "Entretien
avec Carlos Sandoval", Ensemble Alternance
Saison 07–08, pp. 5–6, Paris.
2007 [BOOKLET] Seeber, Martina,
"Mosaicos", Ensemble Mosaik, open_sources,
programme booklet, p. 6.
2006 [PAPER MAGAZINE] González
B., Francisco, "Sotavento, los árboles que
cantan por Internet", Revista de la UASLP,
vol. 2, no. 4, Mexico.
2006 [NEWSPAPER] Castellanos,
Laura, "Captura el sonido de los árboles",
Reforma, Mexico City.
2006 [NEWSPAPER] Cruz, Arturo,
"Árboles sonoros", La Jornada, Mexico
City.
2002 [NEWSPAPER] Palacios,
Elizabeth, "La pasión según la gente no es fácil
de oír", La Jornada Morelos, p. 12,
Mexico.
2002 [NEWSPAPER] Silva, Raúl,
"La pasión según la gente", La Jornada
Morelos, p. 14, Mexico.
★
2002 [PAPER MAGAZINE] Soto Millán,
Eduardo, "Música, ritos y costumbres",
Proceso 1325, p. 63, Mexico.
2001 [CD BOOKLET] Tostado,
Conrado, "¿Quién camina entre la muchedumbre?",
in La Pasión Según la Gente, booklet,
Mexico.
1994 [NEWSPAPER] Adam,
Johannes, "Es wird weiter experimentiert",
Badische Zeitung, Germany.
1994 [NEWSPAPER] "Armonische
Akkorde: Carlos Sandoval komponiert Opus für
Walzenklavier", Donaueschinger Tagblatt,
Germany.
1994 [PAPER PROGRAM] Hocker,
Jürgen, "Selbstspielende Musikinstrumente",
Donaueschinger Musiktage 1994, pp. 16–21.
OWN WRITINGS
AND ESSAYS, 1983–2016
2016 — "Una visión del tiempo:
Conlon Nancarrow", La Tempestad 115,
pp. 64–67, Mexico City.
2009 — "Heimat? Identität?",
Neue Zeitschrift für Musik, pp. 40–45,
Germany. (German translation of "Composición
y Colonialismo Hoy?")
2008 — "Composición y
colonialismo hoy?", Pauta, Mexico.
2006 — "Música electrónica en
vivo: gesto, inexpresividad y cinismo en la
música del siglo XXI", Pauta 100, pp.
37–47, Mexico.
2005 — "De la fenomenología al
ejercicio estético, o una apología del cinismo",
Pauta, Mexico. (Revised edition of
Artelugio, 2002)
2005 — "Imaginación, análisis y
posmodernismo", Pauta, Mexico.
(Revised edition of Artelugio, 2002)
2000 — "Nancarrow, Samuel
Conlon" and "Estrada, Julio", in Diccionario
de la Música Española e Hispanoamericana,
Madrid.
1994 — "Conlon + Tiempo =
Nancarrow", Pauta 50–51, pp. 148–178,
Mexico City.
1983 — "Música Nueva en
México", La Opinión, Los Angeles, USA.
A note on this CV: it covers selected
exhibitions, performances, and commissions. For
a comprehensive chronological work map spanning
1987–2026, see the
Work Map
section of this site.
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