Critical Instruments – On the critical making of sound and musical instruments.

Clarice Calvo-Pinsolle creates immersive environments at the intersection of sound, sculpture, and performance. Her hybrid installations shape perception and engage the body in sensory and political experiences, conceived as spaces of pause and release where the body can slow down and practice introspective listening. 

Rooted in sound ecology, her work explores relationships between body, matter, memory, and coexistence, while examining how new technologies transform landscapes and sonic ecosystems. Inspired by Pauline Oliveros and the concept of Deep Listening, she develops practices that involve the whole body in ecological forms of listening, from field recordings of environments to the subtle internal sounds of the body. 

Combining theoretical research with material experimentation, she draws on scientific, physiological, and psychological phenomena, and occasionally collaborates with scientists and hypnotherapists to explore altered states of perception and deepen embodied listening. Web: claricecalvopinsolle.com 

Ana Victoria aka Vica Pacheco was born in Oaxaca, southern Mexico in 1993, she lives and works in Brussels. Vica studied Art at La Esmeralda in México City before graduating from Villa Arson in France in 2017. Her practice is rooted in experimental music and composition, but she also has a practice in ceramics and 3d animation. Her work is above all eclectic and energetic, inspired by mythological crossbreeding, prehispanic technologies and syncretism, she likes to arrange the most heterogeneous or hazardous elements between them, to produce sound performances and installations. Web: instagram.com/la_vica_/ 

Vica Pacheco seeks to create a dialogue between animism, ritual and technology in her series of works Animacy. Revolving around the whistling vessel, a hydraulic sound instrument that existed in pre Columbian times throughout Mesoamerica, the series presents a symbiosis between two types of technology: one contemporary, electronic and digital; the other pre-Columbian, made of mud, fire, air and water. 

Martin Toloku is a multidisciplinary artist whose practice evolved over the years from carving to installation, performance, video work, studio practice and collaboration with animals, specifically termites and aquatic species. He is fascinated about the deterioration of materials, memories they inhabit and seeks to explore spontaneity as revolutionary aesthetics, experimental inquiries while investigating decay in relation to time, space, life and death. He is a board member of perfocraZe International Artist Residency (pIAR) in Kumasi , Ghana and Alumni of Rijksakademie van Beeldende Kunsten in Amsterdam and DAAD Fellow for 2026. Web: www.tolokuart.com 

Constanza Piña aka Corazon de Robota is an artist, researcher, and educator working with electronic and sound experimentation, open-source technologies, DIY philosophy, and technofeminist practices. Her work explores noise as a phenomenon with sonic, social, political, and spiritual dimensions, blending contemporary technologies with ancient techniques through speculative narratives. She builds analog synthesizers, textile antennas, and experimental EMF amplifiers, developing the concept of electronic witchcraft — a pseudoscientific approach that imagines electronics as a bridge between the physical world and intangible energies. Her practice spans installations, performances, concerts, workshops, collaborations, and archives, presented across Latin America, Europe, the United States, Canada, and Asia. 

Active since 2010 in the experimental music scene as Corazón de Robota, she performs with self-built DIY synthesizers exploring audible and inaudible frequencies, psycho-physical perception, and rhythmic dimensions of noise. She also founded the technofeminist gathering Cyborgrrrls in Mexico City (2017–2024) and currently works as an independent artist while teaching at her project-school Non Binary Electronic in Berlin. Web: corazonderobota.art