About
Lithic lover. Soundart researcher. 
- Earth-mud-voice
- Input / Output L R
- Imaginary sound-scape
- Nothing is just one thing.
- Sound imagination.
- Terrestrial reverb
- Electronic haptic Lutherie.
Bio
Coco Moya (Gijón, 1982) is a sound artist and researcher. Her work attends to sonic imagination as a sensibility that brings us closer to territory: its geological layers, non-human timescales, and subterranean voices. She seeks listening as a form of sensory knowledge, through processed voices, analogue synthesisers, and DIY lutherie artefacts, in installations, concerts, and performative lectures.
She completed her doctoral thesis "Sonic Geomancy. Landscape as Score" (2023) at the Complutense University of Madrid, where she also holds a Master's in Art and Research.
She is currently an Assistant Professor at the Faculty of Fine Arts (UCM), teaching drawing and sound art. She regularly gives talks and lectures at venues such as the Orpheus Institute, CA2M, and the Museo Thyssen. She has been part of research groups including "Energy Humanities" (CSIC), and participated in the seminar "Parameters for Understanding Uncertainty" at the Institute for Theoretical Physics (UAM), creating a sound piece on black holes. She is a member of the art-science network RedActs and of El Cubo Verde, a network of art spaces in rural environments, of which she has been coordinator.
She has received artistic prizes including Etopía, Claves F. Carasso, LABjoven-Bragales, and Circuitos Artes Plásticas, and has held research residencies at centres such as Etopía Zaragoza, La Panera Lleida, LABoral Gijón, and Azkuna Zentroa Bilbao. She publishes on sound art, performance, and artistic methodologies in academic journals and specialist publications such as Art Nodes. Her work has been shown at Sónar+D, Casa Velázquez, CentroCentro, Museo Reina Sofía, Museo Thyssen, CA2M, Museo Arqueológico Nacional, Medialab-Prado, LABoral, and Casa Encendida. She has been curator of UCM Sound Encounters.
Statement
How we relate to our territories through hearing and touching?
Can we imagine an earth-mud-voice?
Can we sing with the landscape?
Can we en-chant again the places through music?
I explore how the material and the imaginary are intertwined. Using interactive technology. I try to animate the inner objects, adding an immaterial software to rocks, ceramics or minerals.
Now, as in prehistoric times, nothing is just one thing. In a more technologically mediated way we amplify our experience of the world with avatars and multiple networked identities, and in the same way objects have a life without us,
updating,
interconnecting,
and self-activating:
-the internet of things.
The Capitalocene grapples with the same old uncertainties of an uncontrollable planet...
It demands again the recovery of a sympathetic magic, a soft power,
an indigenism.
If in the Neolithic we were fascinated by the lunar cycles, now we are fascinated by the microwaves of the background of the universe, climatic flux, dark matter, black holes or artificial intelligence.
Instead of gods we have satellites,
Instead of telepathy we have wifi.
Inert worlds that communicate again through
sound metaphors.
Portfolio and CV Coco Moya
DOWNLOAD Portfolio English︎︎︎DOWNLOAD CV Español︎︎︎