In this exhibition, Mexican artist Amor Muñoz presents nine research-creation works that intertwine technology, craftsmanship, nature, and language in a sensorial and critical approach. Through her artistic practice, Muñoz develops a poetic that gradually reveals itself to the viewer through the activation of the senses, proposing an alternative form of knowledge: intuitive, corporeal, communal, and situated.

This body of work showcases a consolidated body of work, the result of nearly two decades of interdisciplinary exploration. Muñoz's work has explored diverse themes, including labor, technodiversity, coded poetics, the connections between form and sound, and posthumanist speculations through artificial intelligence and living matter. Her production articulates art as a social, participatory, and reflective instrument, committed to territories and communities. This positioning is no coincidence: Muñoz studied law before dedicating herself fully to art, and grew up in Ecatepec, a context marked by profound social inequalities and environmental issues. These experiences shape a critical and sensitive perspective, which imbues her work with an awareness of the body, the social and natural environment, and collective memory.

In the pieces gathered in this exhibition, the artist invites us to read the unwritten and to listen to that which lacks a human voice. Technology, far from being cold or distant, becomes a sensitive material here: soft, intimate, and close. Textiles sing, walls codify, water expresses itself, corn speaks in a sonorous body, and the handmade is dignified. At the heart of this artistic practice lies perhaps an essential question: what will the knowledge of the future be like? Perhaps it is not about knowing more, but about doing it better, with respect for the land and its languages.

Coded Borders and Coded Fingers (2019 and 2025). In these pieces, the public interacts with mural pieces —whether textiles in the form of mathematical knots or painted wooden sticks delineating the Mexico-USA border—that contain messages in binary code. Through a printed card with a binary alphabet, it is possible to decipher the content of the secret message Muñoz develops, thus establishing a bridge between matter and digital language. The artist employs "analog/artisanal" technologies that refer to memory systems, coding, and data processing, evoking a digital aesthetic from a manual perspective.

On the other hand, in works such as "Score" and "Oracle," Amor Muñoz shows us how to use textiles as a creative act. This artist has found in weaving a powerful catalyst to explore multiple possibilities: she sees in them something that goes beyond the anthropological memory with which they are usually associated, breaking with that representation to expand from the two-dimensional or static to metaphor, transcending the limits of the functional to create interactive, social, and technological memory, an extension of the body and the senses, among other experiences.

Oracle (2024) Interactive sound textile installation that explores the language of the non-human. A set of textile antennas, crafted using a wrapped knot technique and integrated with electronic elements, are activated by the capacitance of the public, emitting alien voices and sounds of bodies of water collected by the artist from various parts of the world (rivers, waterfalls, the sea, rain, etc.). These sounds were converted into spectrograms and processed by artificial intelligence to generate a speculative alien language: the language of water. Oráculo proposes a sensorial and symbolic connection with that which cannot speak, but is present. Water screams that it is there, that it is part of the world we live in.

Macrame Finger (2025) In this series of sound sculptures, the artist pays homage to the hand, both as an organ of knowledge and creation and as an ancient technological device. These sculptures, in the form of knotted fingers, transmit a musical composition on four channels through augmented reality (using mobile devices and wireless headphones). Each sculpture is accompanied by a macramé pattern woven using motion-capture gloves to generate data to create sound pieces. This translation process was carried out in collaboration with Mexican composer Pablo Silva. The hand is an essential organ that allows us to perform complex tasks, perceive the world around us, and transmit and express emotions. It is also fundamental to the development of the human brain. With this work, the artist reminds us of this by exposing her own hands, thus activating our creative imagination.

Scores (2024) Scores is part of the Notes and Folds series, works that link form and sound, matter and code. The handmade textile pattern functions as a score played on a music box with a small crank that the audience moves to hear handcrafted music. The pleated textile pattern, handmade by the artist herself, is transformed into a sonic experience thanks to a punched card that allows the music box to play with the pattern, similar to player pianos or mechanical looms. Inspired by the work Patterns by Morton Feldman and composer Conlon Nancarrow—whom Muñoz studied after living in his home studio for several years—this work reinterprets sound creation as an artisanal and technological act.

Cyborg Corn (2025) This is a 4-channel sound installation activated through augmented reality as a shamanic ritual, using a popcorn necklace (a pre-Columbian ceremonial adornment associated with flowering). It takes us through a sonic fabric that combines birdsong and the buzzing of bees with Morse code sounds and electromagnetic waves, using cell phone software and the presence of an amplified kernel of corn. I consider the design of this device exceptional for those interacting with the work, as the most effective way for the viewer to activate the sound installation is to hold their cell phone at heart level. The piece seeks to rethink the boundaries between the organic and the artificial, and between the ancestral and the technological. Amor Muñoz designs this delicate gesture to highlight the vital importance of corn in the worldview of Indigenous peoples in Latin America, while denouncing the threat that genetically modified corn poses not only to biodiversity but also to culture itself, which is also the heart of our existence.

In times dominated by technological acceleration, Amor Muñoz's work positions itself as a poetic and political practice that proposes a reconfiguration of the relationships between the body, knowledge, nature, and technology. Her work is not only perceived, touched, or heard: it is decoded, interpreted, and intuited. From textile threads to coded circuits, Muñoz explores possible worlds that connect the ancestral with the contemporary, the human with the nonhuman, memory with the imagination.

Words by Mónica Benítez Dávila