Wingel Mendoza (Mexico City, 1982) is a composer and sound artist based in Germany. His music has been performed in Mexico, Germany, the Czech Republic, Austria, the Netherlands, Lithuania, Latvia, Spain, Norway, Switzerland, among other countries. He has been a beneficiary of the “Jóvenes Creadores” program by FONCA (Mexico) in the 2014-15 and 2017-18 editions. He was part of the National System of Art Creators (2020-2023). He has also won various awards and competitions, such as first place in the “Armin Knab Wettbewerb für Komposition 2016” composition competition (Würzburg, Germany) with the piece “Cuitláhuac” for orchestra. With the piece “Der Hase des Mondes” (The Rabbit of the Moon) for piano, he won first place in the “Von fremden Ländern und Menschen 2017” composition competition (Leipzig, Germany). He has received various grants and artistic residencies in both composition and sound art, such as the Deutschlanstipendium, DAAD graduation grant, MusikFonds e. V. STIP-II (musical composition), STIP-III (musical composition), Culture Moves Europe (Music), the PaiR Pavilosta Artistic Residency in Latvia (2024), the artistic residency at the Bergen Center for Electronic Arts (BEK) in Norway (2022), Stiftung Künstlerdorf Schöppingen, Germany (2021), City of Art Kalbe (Milde), Germany (2019), among others.

As a sound artist, his work has been presented in various exhibition venues such as PaiR Pavilosta, Latvia, Soundseeing festival, Notebeck and Coesfeld, Germany, Kunsthochschule Mainz in Germany, among others. He has been a resident composer for various theater productions, such as “Behalt das Leben lieb” at the city theater of Wiesbaden in Germany, “The Divorce of Figaro,” at the same theater, among others. As an improviser, he has performed in various venues such as the Reynosa Festival – Mexico, Kunsthalle Mainz – Germany, LTK4 Cologne – Germany, ReMusik.org festival in Saint Petersburg – Russia, among others.

In his own words, Wingel Mendoza comments: “For me, sound is a material that is made not only of sonic energy but is also composed of memories, images, objects, lights, and shadows, or actions such as touching, thinking, or moving. Therefore, my personal interest as a composer and sound artist is to expand my sonic context by interacting with external sources, such as the use of electronic devices such as sound synthesis, programming, video, space, the interaction of humans with their environment and nature, images, movements, and sensors, as well as interaction with other arts such as dance and theater to create new possibilities and paths for musical perception. As part of my search for sounds, I improvise with artists from different disciplines and fellow performers. Finally, as part of my sound exploration, I have created my own analog and digital devices to be used in my works.”