Wingel Mendoza (Mexico City, 1982) is a composer and sound artist based in Germany. His music has been performed in Mexico, Germany, Czech Republic, Austria, Netherlands, Lithuania, Spain, Norway, Switzerland, among other countries. He has been a recipient of the “Jóvenes Creadores” program by FONCA (Mexico) in the 2014-15 and 2017-18 editions. He is currently a member of the National System of Art Creators (2020-2023) in Mexico. He has also won various awards and competitions, including first prize in the composition competition “Armin Knab Wettbewerb für Komposition 2016” (Würzburg, Germany) with the piece “Cuitláhuac” for orchestra. His piece “Der Hase des Mondes” (The Rabbit of the Moon) for piano won first prize in the composition competition “Von fremden Ländern und Menschen 2017” (Leipzig, Germany). He has participated in different artist residencies in composition and sound art, such as the artist residency at the Centre for Electronic Arts (BEK) in Norway (2022), Stiftung Künstlerdorf Schöppingen, Germany (2021), Ciudad de Arte Kalbe (Milde), Germany (2019), among others.

As a sound artist, his work has been presented in various exhibition venues such as Walpodenakademie Mainz, Germany, Soundseeing festival, Notebeck and Coesfeld Germany, Kunsthochschule Mainz in Germany, among others. He has been a resident composer for different theatre productions, such as “Behalt das Leben lieb” at the Wiesbaden City Theater in Germany, and “Figaro lässt sich scheiden” at the same theatre, among others. As an improviser, he has performed on different scenarios, including the Reynosa Festival in Mexico, Festival Ensemble in Germany, ReMusik.org festival in Russia, among others.

In his own words, Wingel Mendoza comments: ” For Wingel Mendoza, sound is not only sonic energy but also composed of memories, images, materials, light, shadow, and actions—gestures that can be translated into data. His artistic practice explores the interconnectedness between sound, space, and matter through interdisciplinary collaboration that is deeply rooted in social and political contexts. By bridging traditional and digital media, he creates immersive, multisensory experiences.

Mendoza integrates tools such as machine learning, data sonification, and visualization into his sonic investigations. These technologies allow him to analyze sonic qualities like texture and density, translating them into visual, sculptural, or new auditory forms. His process often begins with direct interaction with materials—touching and listening to wood, stone, or cement—to uncover the hidden sonic identities embedded in architectural and natural spaces.

Collaboration is central to his approach, particularly through improvisation with dancers, performers, and media artists. He also designs and builds his own analogue and digital devices, which function as both instruments and conceptual tools within his installations. Mendoza’s aim is to create environments where sound acts as a living presence—bridging memory, perception, and place—and expanding how we experience and understand sound.

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