Post Type ArchivesArtistas

Artistas de nuestro sello

As a child he worked alongside his father as a farm labourer on a ranch and became independent at the age of 13 when he began to work on his own in other rural establishments. The horse was a working tool that allowed him to get to know the territory in depth.
He attended the Higher School of Electronics and Electrotechnics (UTU) in Montevideo, trained as a Radio Operator at the Army Communications School (ECOME) and continued studying at the Communications Battalion No.1, until 1992.

In 2014 he completed a rural carpentry course, provided by INEFOP in Paso de los Novillos, Tacuarembó. He completed the basic cycle in 2015 with the Uruguay Estudia Project, in Curtina, achieving a mention as an outstanding student.

In 2005, after a severe injury while he was wiring wire, his work history took a turn. In 2006 he began to conduct a series of interviews on local histories and rural trades, in the Curtina area and surroundings, forming a collection of more than 70 cassette tapes. This work is part of the collection of the Oral Archive of the Centro de la Memoria, which is publicly accessible and kept in the Bishopric of Tacuarembó. He presented his results at the 4th Latin American Forum on Memory and Identity. His paper is published in the Memorias del Foro and he was subsequently commissioned to carry out a report on the last residents of the Conventillo Ansina (Montevideo) before its demolition. It was published in the weekly Acción Informativa in September 2007: Memoria y lucha del Conventillo Ansina.

In 2007 he carried out research on horse-related trades, the results of which he published in 2009 in the book “Jinetes, Domadores y Troperos” (Robert Da Silva and Ana Rodríguez, Esebé Ediciones, Tacuarembó, 186 p.). That year he presented the book at the Fiesta de la Patria Gaucha and acted in the film “La Redota” (Dir. César Charlone, 2011), as the gaucho who presents the discussion with Artigas about the inheritance of the land.
From 2009 to date, he has been giving talks at School No. 9 in Curtina on the contents of the book, which he has been expanding and updating. He collaborates with the Uruguay Trabaja Programme, giving an introduction to the local history of Curtina for groups participating in the programme. He collaborated in courses given by the anthropologist Walter Díaz, aimed at teachers:

“Oral Traditions, School and Writing in the Internet Galaxy”, Regional Programme of Tertiary Education in the Northeast Region, Tacuarembó, UDELAR Tacuarembó.

Continuing Education Course “Oral traditions, school and writing in the Internet Galaxy” University Centre of Paysandú- UDELAR – ANEP (2013).

In 2015 she participated in the 2nd. Encuentro Movimientos Populares, in Santa Cruz de la Sierra, Bolivia. He was a delegate of the Pastoral de la tierra and the Movimiento por la tierra. It was Evo Morales who delivered all the documents received to Pope Francis.

He currently collaborates with the Aparcería Lazo, rienda y boleadora (San Gregorio de Polanco, Tacuarembó) doing thematic research for the competition in the Patria Gaucha and makes the presentation to the public of the representation that the Aparcería makes every year.

It participates in the project Hogar de Ancianos Rodolfo y Eduardo Sabattini, carried out with the help of neighbours from Curtina. They have legal status and agreements with the IDT. It is an ongoing project, based on the donation of a property by the Sabattini family.

He is currently the President of the Movement for Land and Against Poverty (Movimiento Por la Tierra y Contra la Pobreza).

Uruguayan. I was born in 1975 in Montevideo. My parents and grandparents were born in a city in the interior or in the countryside, and have emigrated to the city or to the capital. I am trying to make the reverse journey and I live in Tacuarembó. I went to public school, I studied at the public university, I am an anthropologist and I work on cultural projects, generally linked to the rural world and sound recordings. I keep one of the sound maps of my country and sometimes I work in Portugal, also in the countryside. I deeply admire people who help to heal and those who plant.

I am currently studying for a Master’s degree in Agricultural Sciences at the Faculty of Agronomy, UDELAR. For my thesis, I am investigating the different links we have in Tacuarembó with the watercourses we live next to. One of my passions is to generate stories about the invisible layers of the places we inhabit, that is, I like to talk to people older than me.

I got in touch with music through the Spanish guitar and then I finished my career as a teacher of this instrument at the Conservatorio Superior de Música Astor Piazzolla in the city of Buenos Aires. I am currently focused on the field of sound art and improvisation, processing sound in real time, working solo and with other ensembles.

I’m Coming (Voy Llegando)

A site-specific work, knowing that I only had as a reference the research report of the space/auditorium El Tanque. My intention was to make that space vibrate by working with the most salient modes of the frequency spectrum. I wanted the spaces to resonate and discomfort through the field recordings of my new stage of life, oscillating between solitude and family.

CREDITS:

Mastering: it was carried out in two stages. The first part in Pablo Bas’ studio and then in the Laboratorio de Investigación y Producción Musical del Centro Cultural Recoleta [LIPM CCR] with Gabriel Lucena as technician and the support of FMyT [Fundación Música y Tecnología].

Her work encompasses instrumental, experimental and art-sound composition. She is a member of UNACOM (Unión Argentina de Compositoras) and is doing a postgraduate degree in Sound Art at UNTREF. She has participated in musical and cultural projects within the Centro Cultural Kirchner, Muntref, Tecnópolis, Centro de Arte Sonoro, MUTEK Argentina.

During his artistic career he has composed mixed works, electronic, music for video games, music for theatre plays, string quartet, orchestral, for violin and piano, for clarinet and tape, acousmatic, for percussion set, arrangements for cello, chamber orchestra, arrangements for guitar trio and saxophone/flute, among others.

ABEDUL

A sonic musical work that captivates the listener with its evocative and hypnotic blend of sounds and textures. Combining elements of electronic and ambient music, Birch creates an immersive, emotionally resonant soundscape that invites reflection and contemplation. The work can be perceived as a representation of the connection between past, present and future. The use of nature sounds in the work evokes a sense of history and tradition, reminding us that nature has been present since time immemorial. These sounds connect us to the past and remind us of the importance of maintaining a link with nature in an increasingly technological and artificial world. The mixture of electronic and organic elements reflects the fusion of past and present, creating a new art form that incorporates elements of both. The work is a demonstration of the potential of technology to collaborate with nature, rather than replace it.

CREDITS:

Mastering: it was carried out in two stages. The first part in Pablo Bas’ studio and then in the Laboratorio de Investigación y Producción Musical del Centro Cultural Recoleta [LIPM CCR] with Gabriel Lucena as technician and the support of FMyT [Fundación Música y Tecnología].

After some small and intuitive recordings made during some trips and motivated by the reading of the novel “Desierto Sonoro”, whose protagonists are sound documentarists, I started an approach to art from sound, its capture, recording, processing and manipulation, and in that search I found the sound art workshop taught by the artist Pablo Bas, where I have been taking classes for two years.

A Trilogy (Una Trilogía)

This piece is based on the need to explore the abstract as a way of resisting the useful and the productive. It is part of some of the exercises carried out in the sound art workshop and was made from the recording and processing of sounds from household objects that were intertwined with the idea of constructing textures and a narrative that recreates the everyday environment from a poetic perspective.

CREDITS:

Mastering: it was carried out in two stages. The first part in Pablo Bas’ studio and then in the Laboratorio de Investigación y Producción Musical del Centro Cultural Recoleta [LIPM CCR] with Gabriel Lucena as technician and the support of FMyT [Fundación Música y Tecnología].

He is a musician, composer and creator of sound spaces. He has studied music with Mario Villagrán, Mariana Ingold, Jorge Lazaroff, Rubén Olivera, Fredy Pérez and Francisco Rey. For several years he composed -almost exclusively- music for theatre. Currently, in addition to the production presented under his own name, he participates in two projects where he ventures into other genres (Irizaga and the Pepe Carqueja group). He has been part of the Taller de Grabaciones de Campo and Mapa Sonoro and is currently attending the Taller de Arte Sonoro, both coordinated by Pablo Bas.

Mr. President

Experimental piece in which some organic sounds are added to the treatment and processing of the human voice.

CREDITS:

Mastering: it was carried out in two stages. The first part in Pablo Bas’ studio and then in the Laboratorio de Investigación y Producción Musical del Centro Cultural Recoleta [LIPM CCR] with Gabriel Lucena as technician and the support of FMyT [Fundación Música y Tecnología].

Organiser of Soundalks PTY, multi-sensory explorations of the city through sound walks, Deep Listening® and musical improvisation. Writer under the label El Duende Gramático with her books “El día que no tuvo noche” and soon with “Instantáneas Blues”. She currently collaborates with the Plataforma de Música Experimental Latinoamericana (MUSEXPLAT) where she writes reviews on sound trends in our region and her artistic research is currently developing the relationship between urban listening and bodies of water through musical improvisation and sonic meditations. Certified Deep Listening® Instructor and Master in Contemporary Arts at Simon Fraser University (Vancouver, Canada).

This Must Be the Place (ÉSTE DEBE SER EL LUGAR)

Poem that was written some years ago for the Mexican magazine Pinche Vida, but that always asked for another form. During pandemic, I wanted to revisit some of my texts, but from a sound art perspective, and that’s how I met Pablo. We began a path of exploration based on sound walks and how these poems are part of the stories of Panama City. This must be the place is a text that flies over a destroyed territory, in the middle of a metaphorical combat. Where bodies walk without knowing that memory bleeds. It is part of a series of four sound poems inserted in the sound walk with the same name, which connects the bodies of the walkers with sonic meditations and the sound poems. Their cacophonous repetitions accompany the body and speak to it. The poem belongs to the stop at the Antigua Estación de Ferrocarril de Panamá, currently the Museo Antropológico Reina Torres de Arauz, which is perpetually “under construction”.

— Éste Debe Ser el Lugar —

Los recuerdos son partículas de mundos destruidos. Espacios erosionados en el tiempo; habitantes equívocos, sinsentido. Enfermizos. Sobrevuelan la pesadumbre.

Cuando aterrizan, esparcen los ridículos dolores y sus formas. Relieves quebradizos, colores inentendibles, nombres afilados. Sus silenciosas cicatrices. Si uno pudiera hacer un inventario de todas las heridas, necesitaríamos el honguito 1UP de los video juegos. Tendríamos que inventar artificios para laceraciones invisibles, pócimas para la lobotomía auto-infligida.

El viaje en ferri fue apenas una sutura. Quizá inventé que ese día la luna se elevaba desde el puerto y que su luz se enredaba con la fluorescencia de la sangre bajo tus uñas. Esa luz que salía de ti tenía un origen, era la herida pulsante de un desastre. Temblar y recordar. Te juré convertirme en terrorista, en deshacer el mundo en tu nombre. Éramos ilusos, soñábamos salir ilesos del combate.

Nuestro tiempo se construyó a partir de esos escombros; partículas que gravitan sobre nuestro rastro. El recuerdo debe ser el lugar donde se cauterizan las heridas, donde logramos imaginarnos libres, como en una fábula…
Obvio. Sorry, dear, it takes one to know one!
Only one.

CREDITS:

Mastering: it was carried out in two stages. The first part in Pablo Bas’ studio and then in the Laboratorio de Investigación y Producción Musical del Centro Cultural Recoleta [LIPM CCR] with Gabriel Lucena as technician and the support of FMyT [Fundación Música y Tecnología].

She began her artistic career at Espacio Fundación Telefónica, taking the aesthetic, curatorial and montage specialisation programme for technological art works on two occasions, and participated in the Production Laboratory of the Medialab programme of the Centro Cultural de España en Buenos Aires (CCEBA). Then, she obtained a postgraduate degree in Electronics Applied to Art at the National University of the Arts (UNA).

During this process and up to the present day, she has been making works in co-authorship with artists of diverse expressions.

She has coordinated basic electronics workshops.

She collaborates interdisciplinarily with artists who require electronic objects or installations for their works.

This whole itinerary has led her to deepen and continue her training in sound art and to compose experimentally. She also studies cello.

Her works have been exhibited in Argentina (Museo de Arte y Memoria de La Plata, Centro de Arte Sonoro (CASo), Museo Provincial de Bellas Artes, Espacio Fundación Telefónica, CCEBA, Museo MAR, Centro Cultural 25 de mayo, Centro Cultural Konex, among others); in Spain (In-Sonora VI and In-Sonora VII, SON-Nueva generación de artistas sonoros) and in Finland (Sensibus Festival – Seinäjoki).

SERENDIPIA

Electroacoustic work made from cello recordings. It was composed from simple sounds, consisting of plucked, fretted and plucked strings, bow strokes and percussions on the instrument, later manipulated and processed. The result is a soundscape that awakens the imagination from the listening experience.

CREDITS:

Mastering: it was carried out in two stages. The first part in Pablo Bas’ studio and then in the Laboratorio de Investigación y Producción Musical del Centro Cultural Recoleta [LIPM CCR] with Gabriel Lucena as technician and the support of FMyT [Fundación Música y Tecnología].

He composes electroacoustic, instrumental and mixed music. He improvises freely with acoustic, electronic and digital instruments and devices and performs in concerts as a soloist, in ensembles and with the duo Liquen Negro.

He produces music productions, sound montages and sound installations and makes music for audiovisuals, theatre, dance and performances.

He develops and directs collective projects of field recordings and soundscapes for sound mapping with the Field Recordings and Sound Mapping Workshop.

His works have been presented at festivals, concerts and exhibition halls in several countries. He is the author of the book Audio Digital (MP Ediciones, 2005) and has published several articles and papers at international conferences on sound art and music.

As a teacher he develops his activity in his private studio, directs the Diploma in Audio and Music Production and the Diploma in Sound Art at UTN.BA and has worked at UNICEN, UNTreF, UP, Biblioteca Argentina para Ciegos, among other institutions.

Pablo Bas: direction of the Taller de Música y Arte Sonoro, general production, artistic production of the album, curation and mastering.

Franco Falistoco is a sound artist who was born in 1976, in Marcos Juárez, Argentina.

A curator specializing in radio art and sound art, since 2011 he has hosted the experimental radio programme El RUIDO es el Mensaje (NOISE is the Message).

Gender and body-related topics form the central axis of his works. Both in his radio programmes and his experimental pieces, the main protagonists are the voices of women artists narrating their experiences with sound, noise, and silence.

A radio listener since he was a child, Franco started working in the media at the age of 15 as a radio music programmer and technical operator. He later pursued studies in journalism and communication and discovered radio art and sound design, a field he has been exploring since 2010. His works reflect the mixture of elements from a variety of disciplines including literature, cinema, and graphic design.

In 2011 he started his radio art and experimental radio programme called NOISE is the Message, which has been broadcast by Radio Universidad Rosario (Argentina) since its very creation, and later on began to be rebroadcast by several radios around the world, among them, Radio Tsonami (Chile), RadioLibre (Colombia), and TeslaFM (Spain). Franco interviews a wide range of sound and experimental artists in this programme, revealing artistic approaches narrated through simultaneous interweaving of voices and sounds.

In 2012, he coordinated the radio art workshop Radioarte (((Imagen · Sonora))) for Laboratorio Sonoro (Labso) at the National University of Rosario, Argentina.

In 2013 he participated in the multimedia exhibition of experimental art Paisajes Sonoros y Visuales in the 9^th edition of Semana del Arte en Rosario (Rosario Art Week), curated by Pablo Romano and produced by arts centre Centro Cultural Roberto Fontanarrosa, of Rosario.

In 2015 he participated in the sound compilation La Liberación del sonido, by artist Jorge Gómez A. with the commissioned work Susi y el Viudo, a joint piece created with Ghostrider Genovesio.

In 2016 he presented the work xXx for the compilation Territorios (Experimentación Sonora en Argentina) for both the digital and CDr edition.

In 2017, he composed BDC: La Casa Viva, commissioned for the Festival Tsonami de Arte Sonoro, which was broadcast in Tsonami Radio and Radio Valentín Letelier (of Universidad de Valparaíso) for its premiere and released in 2018 by the label W.O.S in Mexico.

In 2018, the label Adaptador Records released Sentados en una Habitación, Revisión de I’m Sitting in a Room de Alvin Lucier, a joint work created with Lorenzo Gómez Oviedo in a special edition prepared for tape featuring Andrea Ocampo in voices. The same year, Franco participated in the first edition of Congreso de Arte Sonoro Parlante – Ars Sonorus in Bogotá, Colombia.

In 2019, he was invited by university professors Raúl Minsburg and María Vanesa Ruffa to lecture on radio art for the subject Creación Sonora (Sound creation) as part of the Specialization in Sound Art at Universidad Tres de Febrero. He also participated in Microferia de Arte Rosario with the exhibition of radio pieces as part of the Project RADIO DIY for the Centro de Expresiones Contemporáneas. During this year, he became the manager of artist Sol Rezza.

In 2020 he created the piece HEFE/YEAST: EL ADN DE LA LEVADURA in collaboration with sound artist Sol Rezza. In parallel, he was part of the communication and institutional press team for the Tsonami Festival of Sound Art in Chile. In the same year, he was commissioned by the Swiss Norient Festival to create the work Nothing Is Complete.

In addition to her artistic work, she has lectured on radio art and participated in artistic residencies. The Fondo Nacional de las Artes (Argentina) supported his latest project, #DISRUPTIVES, de las Artes, Argentina, involving the voices of women sound artists. She also released the work “NOISCAPES” through the Argentinean label Bolinga Everest Records in a limited edition of recycled cassettes in 2021.

That same year, he participated in the artistic residency Binaural Nodar in collaboration with the artist Sol Rezza, where she developed the work AS VOZES DAS SUAS HISTÓRIAS (The Voices of their Stories), with the voices of women from the rural village of Alva, Castro Daire, Portugal. Subsequently, he presents the piece RUIDO 3,14, composed for 26 channels, commissioned by the Cold Diffusion festival (England), organized by the artistic collective Slumgothic.

Franco Falistoco’s work is characterised by the manipulation and resignification of often silenced sounds, with a constant search for Silence within NOISE and NOISE within Silence.

Currently, he is dedicated to the development and diffusion of artists through the experimental record label CALATHEA Experimenta, while continuing his work on NOISE is the Message.

He won a prize at the International Radio Biennial in Mexico in 2006, was creator and teacher of the subject Sound Art at the Universidad Nacional Experimental de las Artes [UNEARTE] in Caracas, Venezuela.

Currently based in Bogotá, he is the director of Ars Sonorus S.A.S., a space for education – research – dissemination of sound art – contemporary visual arts and producer of the radio programme “Oír es Ver” dedicated to radio art, sound art and new music on the radio station HJUT 106.9 FM Stereo of the Universidad Jorge Tadeo Lozano.

Intermedial Artist. Master in Audiovisual Communication and Multimedia. Editor of the blog Arte Resonante. Curator. Teacher at the Faculty of Social Communication and Journalism “Universidad Minuto de Dios”. Radio producer of the radio station HJUT 106.9 FM, Universidad Jorge Tadeo Lozano, Coordinator of the online platform ARS SONORUS, dedicated to education, research and dissemination of contemporary arts and visual communication. She has exhibited in galleries and museums in Cuba, Venezuela, Argentina and Brazil. His works of Visual Poetry and Sound Poetry have been published in Mexico, Argentina, Brazil, Portugal, Australia, Spain, Ukraine. He has given lectures and workshops in Foundations, Galleries, Cultural Centres and Museums in Cuba, Venezuela, Colombia.

Sol Rezza is an Argentinian composer, sound designer, and audio engineer who specializes in next-generation audio. Her work combines experimental electronic soundscapes with advanced 3D sound technology to create immersive experiences for virtual ecosystems and live performances.

Sol’s approach to sound design incorporates multilingual vocal samples, granular synthesis, and sequencers along with spatial audio technology. This allows you to create complex and dynamic sound environments that transport audiences to new realms of perception and experience.

She is currently conducting research on the impact of next-generation audio, advances in spatial audio, and artificial intelligence on digital storytelling, exploring the future of immersive audio.

Sol Rezza offers lectures and workshops related to immersive audio and digital sound storytelling. The main focus of these workshops is to develop production methodologies for sound digital narratives, emphasizing the components of immersive audio.

Rezza’s work has been exhibited at MUTEK Montreal (CA), MUTEK (AR/ES), CTM Festival (DE), IN/OUT Festival, Tsonami Festival (CL), BRIWF festival (BR), Simultan Festival (RO), Borealis Festival (NO), HÖRLURS Festival (SE), among others. She participated in artist residencies including the Radio Art Residency at Radio Corax (DE), the Somerset House Studio Residency (UK) and the Nodar Binaural Residency (PT).

He has released more than 40 albums on different labels in the USA, Japan, France, Brazil, Poland, Russia, Spain and Argentina, in genres as diverse as ambient, drone, noise, contemporary music, free jazz, lo-fi, incidental, minimilasta, among others.

In his search for improvisation, he has ventured into the exploration of soundscapes through analogue recordings, interpretation of everyday sound objects, among other techniques of sound exploration.

He currently runs the experimental music label Adaptador Records and the Caja Negra International Festival.

He is active in his artistic work through concerts and specialised workshops and talks.

Lives in El Fin del Mundo (Usuahia, Tierra del Fuego, Argentina).

He studied Piano at the Royal Conservatory of Madrid and Political Science at the University of Madrid.

From 1973 to the present day, he has produced a variety of multidisciplinary works, focusing his work on site-specific works in specific large-scale spaces in various museums and public and private institutions in different countries, as well as performances and works of radiophonic art.

From 1990 onwards, he combined his individual works with others made with the musician and multidisciplinary artist José Iges Lebrancon.

Between 1991 and 2011 she was a lecturer in the Faculty of Fine Arts at the University of Salamanca.

Concha Jerez’s awards include the Gold Medal for Merit in Fine Arts 2010, the National Fine Arts Award 2015, the Velázquez Fine Arts Award 2017 in recognition of her entire artistic career and the Gold Medal for Fine Arts of the Canary Islands 2018.

He began to create with electroacoustic media at the ALEA Laboratory in Madrid and later at the University of Pau (France) between 1977 and 1978. Between 1977 and 1979 he attended the courses in Techniques and Analysis of Contemporary Music given by Luis de Pablo at the Royal Conservatory of Music in Madrid.

Between 1979 and 1982 he was a member of the Seminario de Arte e Informática (SAGAF-M) of the Centro de Cálculo de la Universidad de Madrid, and between 1979 and 1984 of the Colectivo ELENFANTE. As a composer and instrumentalist of live electronics, he collaborated with various groups and soloists and, from 1984 to 2000, with the singer Esperanza Abad.

In 1989 he began his collaboration with the artist Concha Jerez, jointly creating sound and visual spaces, performances, radio works, intermedia concerts, videos and photomontages.

Fundamental axes of his artistic and compositional work are the interaction of conventional instruments with recorded sounds and/or live electronics, or his personal use of stage and radio language in areas such as performance, installation or video. All of this implies a transversality of approaches and practices that in many cases are framed within the so-called sound art.

From 1985 to 2008, he directed the programme “Ars Sonora” on the current Radio Clásica (RNE), which focuses on sound art and, in particular, radiophonic art. He has produced more than 80 works of these genres, having received, among others, the “Prix Italia de Radio” in 1991, with L’Escalier des Aveugles, by Luc Ferrari, the 2nd Prize in the “Prix Radio Brno 1988” with his piece Palmeros and the Förderpreis of the Karl-Sczuka-Preis 2005 with Call me yesterday, by Antje Vowinckel. He has also been producer of the CDs Broaden/in/Gates (1992) and Ríos Invisibles (1994), and director of events and meetings such as Ciudades Invisibles (Madrid, 1992) and Radio Horizontal (Madrid, 1995). He has been a member of the Forum “Ars Acústica” of the EBU (European Broadcasting Union), of which he was coordinator between 1999 and 2005. He has been president of the AMEE (Electroacoustic Music Association of Spain).

His creative and production work has been complemented by numerous articles, conferences, courses and workshops. Among them, we can highlight the Workshops on Radiophonic Art that he directed in Barcelona (La Caixa, CIEJ,1990), Cuenca (Fac. de BB.AA.,1995) and Mexico D.F. (III and VI Latin American Biennial of Radio, 2000, 2006; Radio UNAM, 2010); those on “Sound and Visual Spaces” in Pontevedra (1991) and Valencia (Fac. de BB.AA.,1993), and on “Art in Electronic Space” in Gijón (Fundac. Munic. de Cultura,1995); those on “Sound Art” at Arts Santa Mónica (Barcelona, 2010 and 2012), Universidad de Caldas (Manizales, Colombia, 2012), Universidad de los Andes (Bogotá, Colombia, 2012), as well as courses and seminars at the Fac. de Ciencias de la Información de Madrid, Universidad del País Vasco, Fac. de BB.AA. de Granada, Fundac.

Municipal de Cultura de Valladolid, Instituto de Estética y Teoría de las Artes (Madrid), Centro de Arte Reina Sofía, Conservatorio de Cuenca, AECID Caracas, Universidad de Puebla (Mexico) and Universidad Carlos III de Madrid. He has contributed articles and essays to specialist magazines such as Scherzo, Ritmo, Creación, RevistAtlántica de Poesía, El Urogallo, Doce Notas, Coclea, Transversal, Musica/Realtà, KunstMusik and Fisuras, among others, and to the New Grove Dictionary of Music and Musicians. He is the author of a narrative work (Animales Domésticos, Ed.Libertarias, Madrid, 1987), of the biographical volume Luigi Nono (Ed. CBA, Madrid, 1988), of a doctoral thesis on “Arte Radiofónico” (Univ. Complutense de Madrid, 1997) and the book “Conferencias sobre arte sonoro” (Árdora, Madrid, 2017), co-author (with Manuel Olveira) of the book “El giro notacional” (CENDEAC, Murcia, 2019), as well as editor of the book “Ars Sonora, 25 años” (Ed. Iberautor, Madrid, 2012) and co-editor of the catalogue “Escuchar con los ojos” (Fundación Juan March, Madrid, 2016).

In 1997 he was responsible for the selection of the Sound Art collection of the Media Library of the Fundació Caixa de Pensions (Barcelona). Responsible for the selection of Sound Art in the ARCO ELECTRONIC Commission of the ARCO fair in 1997, 1998 and 1999. Curator of the international exhibitions on sound installations and sculptures “El espacio del sonido/El tiempo de la mirada” (Koldo Mitxelena Kulturunea, San Sebastián, 1999), “Resonancias” (Museo Municipal, Málaga, 2000) and “Dimensión Sonora” (KM, San Sebastián, 2007), as well as the monographic exhibition “Vostell y la Música” (Museo Vostell Malpartida, 2002-2003), the I Muestra de Arte Sonoro Español, MASE (Córdoba-Lucena, 2006), the soundscapes project Islas Resonantes (2009) and the exhibition ARS ACUSTICA DOCUMENTAL (Barcelona, 2012). In 2016 he was invited by the Fundación Juan March to curate the series of exhibitions “Arte sonoro en España, 1961-2016”, held in Palma de Mallorca, Cuenca (Museo Español de Arte Abstracto) and Madrid. In 2017 he curated the exhibition “space. sound. silences” for the Museo Patio Herreriano in Valladolid. In 2018 he curated a new version of the Fundación March exhibitions for the Museo Tamayo in Mexico, under the title “Listening with the eyes”. In 2019 he is curator of the exhibition “El giro notacional” (MUSAC, León) and in 2020 of the virtual sound art exhibition “SEM (Sonidos de Equilibrios Metaestables)” for Freijo Virtual.

He has organised concert cycles for institutions such as the Sala Amárica in Vitoria (2000), the MNCARS in Madrid (2002) and the Museo Vostell Malpartida (1999-2006). He co-organised the EASE (Encounter on Sound Art in Spain) in Madrid (2010). He was the author, together with Concha Jerez, of the series of radio programmes MONUMENTOS DEL ARTE SONORO, produced for the Fonoteca Nacional de México (2011).

He has been musical director and arranger in the world premiere of the Opera-Fluxus “El Jardín de las Delicias”, by Wolf Vostell (Museo Vostell Malpartida, Malpartida de Cáceres, 2012) In January 2011 he created “Radioartnet”, a website that is a permanent archive of international radio art.

In October 2012 he coordinates RESONANTES, I Encuentro Iberoamericano de Arte Sonoro en Radio, at the Fonoteca Nacional de México, within the framework of the 9th International Radio Biennial. In 2013 he carries out the IberWave project, a series of five broadcasts for Kunstradio (ORF) on current Ibero-American radio art.

He has permanent works —alone or as co-author with Concha Jerez— in:

• Museo Vostell Malpartida. Malpartida de Cáceres.
• National Museum of Engraving. Marbella.
• ZKM. Karlsruhe
• Museum Weserburg. Bremen
• Comunidad de Madrid
• Museo de Arte Contemporáneo del Ayuntamiento de Madrid