Wingel Mendoza (Mexico City, 1982) is a composer and sound artist based in Germany. His work moves between instrumental composition, sound installation, improvisation, performance, and technology-based artistic research. His music has been presented in Mexico, Germany, the Czech Republic, Austria, the Netherlands, Lithuania, Latvia, Spain, Norway, Switzerland, and other countries.

He was a fellow of FONCA’s Jóvenes Creadores program (Mexico) in the 2014–15 and 2017–18 editions, and a member of the Sistema Nacional de Creadores de Arte (Mexico, 2020–2023). His distinctions include the Johannes Gutenberg University Prize (2024) for the defense of his thesis, first prize in the Armin Knab Competition for Composition 2016 (Würzburg) for Cuitláhuac for orchestra, and first prize in Von fremden Ländern und Menschen 2017 (Leipzig) for Der Hase des Mondes for piano. He has received commissions from ensembles such as Broken Frames Syndicate, Quartetto Maurice, and Vertixe Sonora.

His grants and support include Culture Moves Europe (2024), the Deutschlandstipendium (2019, 2021), the DAAD graduation grant, as well as MusikFonds e.V. STIP-II and STIP-III. He has also undertaken various artist residencies, including the artist residency in Edenkoben (2026), Kunstkudder in Stade, Germany (2025), PaiR Pavilosta in Latvia (2024), the residency for electronic music at BEK — Bergen Center for Electronic Arts, Norway (2022), and Stiftung Künstlerdorf Schöppingen, Germany (2021), among others.

As a sound artist, his work has been presented at venues and festivals such as Internationale Maifestspiele 2026 in Wiesbaden, PaiR Pavilosta, Sound-seeing Festival, Kunsthalle Wiesbaden, Notebeck, Coesfeld, Kunsthochschule Mainz, LTK4 Köln, and Walpodenakademie Mainz. As Composer in Residence, he has collaborated on various productions at Staatstheater Wiesbaden, including Behalt das Leben lieb, The Divorce of Figaro, and Was man sät. As an improviser, he has performed at Festival Reynosa (Mexico), Kunsthalle Mainz, LTK4 Köln, and ReMusik.org Festival in St. Petersburg.

My artistic practice arises from a particular way of experiencing the world: fragmented, plural, simultaneous. Not as loss, but as material for reflection and creation. The spaces between fragments do not disappear in my work — they become part of the form. My work is to give them perceptible continuity: to make audible, inhabitable, and shared the texture of what had been dispersed.

Fragments: memories, images, materials, light, shadow, actions. The memory of water in a stone, the shape of a flower, a movement drawn in the air. I do not treat them as ruins of something whole, but as nodes with a life of their own — bearers of a sonic identity that has not yet been heard. The question that runs through my entire practice is this: what happens when those spaces between fragments become perceptible? What form does what was broken take when continuity is restored to it?

Through composition and sound art, I seek to create environments in which sound is not only heard, but also inhabits the fragments: a living presence in the spaces between things.