Anchored by the CTM 2017 Exhibition “Critical Constellations of the Audio-Machine in Mexico” that examines the history and current status of sound art and electronic music in Mexico, CTM Festival’s Mexico focus is expanded with divergent voices in the music programme. Planned in collaboration with exhibition curator Carlos Prieto Acevedo, this first of two nights at HAU2 will feature Guillermo Galindo’s “Sonic Border II”, a piece with live electronics and hybrid instruments created from objects lost by some of the countless persons attempting to cross the Mexican-US border. Using a repertoire of field recordings, radio, and cassette devices, Angelica Castelló journeys through the enigmatic land of lost memories, death and fragility of traumatic encounters. Transforming a piece by Mexican composer Conlon Nancarrow, mezzo soprano Loré Lixenberg creates a multichannel vocal tour de force from an original written for mechanical pianola. Feedback, hidden resonances, the dramaturgy of vocal gestures and customised microphone devices are used by Carmina Escobar in an intimate operatic story. Trained in a broad range of Mexican national folkloric instruments, Roberto Morales-Manzaneres metamorphosizes inspirations from nature, Mexican literature, algorithmic composition and real-time gesture interaction into a surround-sound performance with mayan harp, wii controllers, and electronics.