In Materia Resonante, Concepción Huerta treats sound as a borderland. Her work is informed by Gloria Anzaldúa’s writings on liminal space and Daphne Oram’s early electronic experiments. In performance, Huerta uses recordings made with synthesizers and oscillators, layered onto magnetic tape, and sets them in tension with live electronics. Lighting extends the sound, creating a synesthetic experience. Materia Resonante moves through shifting states: drones, pulsing rhythms, tonal fragments, and silence emerge and recede, each with its own weight.  The new composition suggests that these threshold conditions, where one form gives way to another, reveal sound’s capacity to function as both a technical process and living matter.

Concepción Huerta is a composer and multidisciplinary artist who divides her time between Mexico City and Berlin. Using processed tapes, together with synthesizers, she creates dense, atmospheric works. Her practice reflects on the space between silence and noise, the physical and psychological effects of sound, and its power to shape perception and place. She is a member of the experimental ensemble Amor Muere with Gibrana Cervantes, Camille Mandoki, and Mabe Fratti, and has collaborated with artists including Daniela Huerta, Hara Alonso, Aimeé Theriot, Fernando Vigueras, Rodrigo Ambriz, Martin Escalante, CNDSD, Tommi Keränen, and Leslie Garcia. Her projects include Travelers, Grietas (with Lucia Hinojosa and Vania Fortuna); and The Sacredness of All Dimensions of Life, a project of speculative narratives (with Anahy Cabrera/ZETA). Recordings include Cueva de Cristales (Vorágine, 2018); Personal Territories (Static Discos, 2019); Lost Time (Filiae, 2020); Estática (SA Recordings/Spitfire Audio, 2021); Desciende (TVL REC/Aurora Central, 2022); Harmonies from Betelgeuse (Umor Rex, 2022); A Time to Love, A Time to Die (Scrawl, 2023); The Earth Has Memory (Elevator Bath, 2024); and El Sol de los Muertos (Umor Rex, 2025).