Abstraction in Action Richard Garet: SOUND ONE https://abstractioninaction.com/happenings/richard-garet-sound-one/


Artists: Richard Garet and Crystal Z. Campbell

Sound One
July 19, 2016 — August 12, 2016
Cindy Rucker Gallery
New York, USA

Richard Garet interweaves various media including moving image, sound, expanded photography, and multimedia performance. Garet’s pieces seeks to invert the normative function of extraneous noise and bring it into the conscious state. His piece Meta (2013) is a sonic construct intended for ear-to-the-wall-listening. Using the chalky drywall and often hollow interior as an acoustical device, Garet invites his audience to experience the piece aurally and physically by placing their ear against the wall in an investigative action. Garet’s original composition is derivative of our own experiences, actions, and choices. They become emitted by commodities, means of communications, and our own relationships with technology.

In Garet’s Perpetual (2015) series, the artist focused on background noise to create sonic constructions and subsequently translating each piece into a moving image generating a chromatic visual landscape. Removing the sound, Garet draws attention to the processes of perception, which activate sensorial, physical, and psychological phenomena that reflects on the nature and experience of time.

August 11, 2016 Richard Garet: Screen Memory https://abstractioninaction.com/happenings/richard-garet-screen-memory/


Artist: Richard Garet

Screen Memory
April 28, 2016 – June 11, 2016
Galerie Burster
Berlin, Germany

Richard Garet’s artistic approach is characterized by an interdisciplinary interweaving of various media such as sound, moving image, expanded photography and multimedia performance. By activating sensorial, physical and psychological stimuli, his works draw the observer’s attention to the processes of perception and time.

Garet’s work was featured in the first sound art exhibition by the Museum of Modern Art of New York, MoMA; soundings: a contemporary score in 2013, with Garet being selected to join the show as one of the sixteen most innovative artists working with sound as a medium today. Recognizing his work solely in the genre of sound art however will certainly not satisfy to describe his oeuvre on the whole.

In screen memory, his very first solo show at galerie burster – and his first solo show in Europe – Garet‘s selected body of work extracts his interest in experimenting with mixing media and material, shifting borders back and forth within various media and beyond, hovering between digital and analogue – in order to create an aesthetic, sonic, above all immersive perceptual experience.

With installative choreographies such as seen in untitled series painting semiotics or with digital-print series such as activated void, Garet refers to his background in visual art – he studied painting in New York in the nineties – but remaining true to his artistic approach he consequently transfers his pictorial experience into a digital context: The layering buildup and the relationship to malleability and materiality find themselves now translated into various ‚new‘ media such as sound, video art and installation to name a few.


June 6, 2016 Richard Garet: Sound vs Sense: Intersections https://abstractioninaction.com/happenings/richard-garet-sound-vs-sense-intersections/

Screen Shot 2016-03-28 at 4.48.54 PM

Artists: Víctor Aguado, Miguel Álvarez-Fernández, María Chávez, Ferrer-Molina and Richard Garet.

Sound vs Sense: Intersections
March 22, 2016 – April 9, 2016
ICNY Instituto Cervantes New York
New York, NY, USA

Sound and language have a challenging relationship. What exactly does it mean to “understand” what we hear? This doubt is expressed through various artistic forms in this exhibition, taking the form of a dialogue and blurring the lines that divide aesthetic categories as apparently well-defined as music, poetry, or the visual arts.

In their installations, artists Víctor Aguado, Miguel Álvarez-Fernández, María Chávez, Ferrer-Molina and Richard Garet place us face to face with some of the infinite nuances that constitute and inhabit our language.

March 30, 2016 Richard Garet: Sounds of Times Square https://abstractioninaction.com/happenings/richard-garet-sounds-times-square/


Artist: Richard Garet

Sounds of Times Square
June 1 – 30, 2015
Times Square Arts

For this “Midnight Moment” project Richard Garet proposes to use sounds captured from the area of Times Square as a tool to generate a visualization of the sonic environment. Then the artist will remove the audio leaving just the moving image signal creating an experience of sound through vision that would change and pulsate according to the properties of the sonic composite. The viewer then is pulled into lavish landscapes of continually reconfigured color and mood.

“In my processes establishing the material is key, and from there it becomes a reductive process where a vast number of possibilities and outcomes are explored until the work reaches proper momentum, purpose, and significance. Moreover, objectifying the ordinary and reinventing the character of found mundane things in life is very interesting to me.” -Richard Garet

Click here to see video

Screenshot 2015-05-26 16.16.04

More info here

May 29, 2015 Richard Garet: META-residue: input, material, space https://abstractioninaction.com/happenings/richard-garet-meta-residue-input-material-space/


Artist: Richard Garet

META-residue: input, material, space
May 8-31, 2015
Studio 10
Brooklyn NY, USA

The exhibition includes sound art, multimedia installation, moving image, painting and collage. These works convey a distilled presentation of Garet’s practice, ideas, and interests articulated through his investigation of time, media, material and space. Garet’s immersive approach activates sensorial results in the viewer. His hybrid constructions draw attention to the normative function of noise as a consequence of daily life. Further inspiration and intent in Garet’s work are the objectification of the ordinary and his interest in the multilayered complexities of the mundane.

The title of the exhibition “Meta-residue: input, material, space” deals with the perception of time, its affects and reception of materiality and space, mediated through the idea of meta-residue identifying the essence of what once was but is no longer tangible. This phenomenon is all around us. Not only as content and evidence of life but also as the mechanics that filter into aesthetics through constructs that are created in response to the felt world.

Image: treating pictures like wire 2, 2015, mixed media, 12″ X 18″.
May 7, 2015 Richard Garet, Lucia Koch & Sergio Vega: Theorem https://abstractioninaction.com/happenings/richard-garet-lucia-koch-sergio-vega-theorem/


Artists: Miguel Andrade Valdez, Julieta Aranda, Kader Attia, Elena Bajo, Otto Berchem, Monika Bravo, Fernando Bryce, María Magdalena Campos-Pons, Heman Chong, Elena Damiani, Marlon de Azambuja, Milagros de la Torre, Aleksandar Duravcevic, Nicole Franchy, Richard Garet, Kendell Geers, Pedro Gomez-Egaña, Radamés Juni Figueroa, Lucia Koch, Annette Lemieux, Jose Carlos Martinat, Jo Ractliffe, Rivka Rinn, Santiago Roose, Susan Siegel, DM Simons, Antonio Vega Macotela, Sergio Vega, and Zoé T. Vizcaíno.

THEOREM. You Simply Destroy the Image. I Always Had of Myself
Curated by Octavio Zaya
May 3 – August 1, 2015
Mana Contemporary
Miami, FL, USA

Several artists from far-flung locations such as Peru, Brazil, and Norway, are traveling to Mana to create their installations on-site. The artists address the hypothetical question ‘what if?’ – as inspired by Pier Paolo Pasolini’s 1968 film Teorema – contemplating a world turned upside-down, where social tensions can be amplified to the point of poetic subversion, achieving possible transcendence.

Image: Miguel Andrade Valdez, Encofrado Construção III, 2015.
April 24, 2015 Ricardo Carioba & Richard Garet: Adrenalina https://abstractioninaction.com/happenings/richard-garet-adrenalina/


Artists:  Chris Coleman, Donato Sansone, Henrique Roscoe (VJ 1mpar), Hugo Arcier, Lucas Bambozzi, Luiz duVa, Matheus Leston, Mike Pelletier, Rick Silva, Ricardo Carioba, Richard Garet, Ryoichi Kurokawa, Santiago Ortiz, Semiconductor, Susi Sie, Transforma.

Adrenalina -a imagem em movimento no século XXI
Curator: Fernando Velazquez
March 14 – May 5, 2015
RedBull Station
Sao Paulo, Brazil

A adrenalina é um hormônio neurotransmissor que é descarregado no corpo em situações que demandam uma rápida resposta em termos cognitivos, comportamentais e fisiológicos. Ela aguça os sentidos e aumenta a capacidade do cérebro de processar informações, com o objetivo de reestabelecer o equilíbrio entre o ser e o meio.

Esta exposição apresenta um recorte do audiovisual nos dias de hoje, em que vivemos anestesiados pela imagem. Emprestar, no título da mostra, o nome desta substância é um modo de sugerir que ainda podemos ser desafiados e surpreendidos por imagens. 

Os trabalhos apresentados têm em comum a utilização de programação algorítmica e de artifícios generativos, ou seja, se utilizam de sistemas ou regras que permitem o aparecimento de soluções imprevistas. São obras que exploram os recursos narrativos e de linguagem do chamado tempo real, estratégia alternativa à edição convencional de natureza aristotélica.

O interessante neste conjunto de obras está na forma particular de olhar a realidade, as coisas e as pessoas, revelando estruturas e qualidades visíveis e invisíveis a partir de perspectivas que nos solicitam condicionamentos cognitivos específicos, além da abertura ao diálogo com imaginários pouco conhecidos.

Como nos lembra Steve Dietz, todo novo meio penetra as camadas da cultura deixando um legado estrutural de base. O novo meio da fotografia trouxe um outro entendimento da estética da pintura e contribuiu para consolidar culturalmente a conjunção tempo-espaço. O novo meio do vídeo traz uma nova compreensão da estética do cinema, e junto com a TV estabelece o assimilação da ideia de tempo real. O novo meio digital muda o entendimento da arte no sentido que desloca o interesse do comportamento da forma, para a forma dos comportamentos, destacando a potência da interatividade e dos comportamentos em rede. Dos campos eletromagnéticos que nos atravessam em tempo integral (e cujo real efeito sobre o nosso corpo ainda desconhecemos), ao corpo de dados que nos conforma (possível de ser processado e manipulado por algoritmos autônomos), vivemos tempos de reconfigurações sutis da ética, da estética, da política e do território – tópicos sobre os quais propomos refletir a partir deste heterogêneo grupo de obras.

Apoio: SONY

Image: Ricardo Carioba, Abra, 2009, still.
April 8, 2015 Richard Garet: ce.onl_0011 https://abstractioninaction.com/happenings/richard-garet-ce-onl_0011/


Artist: Richard Garet

Live Recordings
Contour Editions
On line recordings

Contour Editions will be presenting a series of recordings of Richard Garet performing live. This online release is the latest development of the labelʼs effort to present works that explore the various possibilities of sound, while also engaging with studio experimentation, materiality, processes, and diverse techniques to create and treat material and media. The labelʼs objective is to reach listeners and spectators on a personalized level while facilitating the independent distribution of sound and visual artistʼs work that are often hard to experience within the local community or the cultural landscape of the world at large. 
Richard Garet’s approach to working with sound live focuses on creating processes that interact and activate sonic material such as electromagnetic waves, treated tape and audio cassettes, cracked media, sonification of light and data, information noise, and computer processing. Over the years his work has evolved from laptop playing to a more hands on type of approach, focusing on sound and material that could encompass a more tactile malleability and less playback. Garet’s preparations to working live with sound evolve from studio practice and these developments establish the artist’s material and set of possibilities to work and interact with in front of an audience.“It is really pointless trying to coin a term for working with sound live. I feel that adjectives and names describing audio art today apply to a certain degree but it does not represent a practice that uses broad methods and techniques. Much goes into the mix, and much goes into consideration. There are moments of improvisation but then there is a control-and-memory at play. There is much knowledge involved as well triggering things as much as the desire to run faster than the mind has time to dictate the next move. Therefore during a live set there is much space for risk and discovery. There are preselected methods and there are elements of surprise. There is electricity. There is analog and digital but most importantly there is hope and there is optimism! And overall there must be progress. Presenting sound live for me has always had a fixation to time, and it involves more than one time, more than one memory, and many approaches to craft-and-media tailoring ideologies for listening that also challenge reception and notions of listening, physicality, and awareness. I like to think that making this work embodies imagination and action that embraces sculpting in time as a dominant understanding of physical space and physicality shifting within space. It is also fascinating how material objects that create sonic energy, shred air, and change and affect a temporal situation. It is like having additional arms and legs for voicing out wordless forms that carry out powerful communication. Performing live with audio to me consists of piling efforts that sum up to a temporal temper that interconnects people within a particular environment and time capsule. It can make you as aware of sound as it can of its absence and yet be felt besides being heard. It is a directness that not only produces a faculty to touch others but also a vehicle for experiential transcendence, psychological connections and thought that leaves the room with you. Performances become alive inside a space or with the absence of one but most importantly are also collectively lived.”
Richard Garet, 2015
March 2, 2015 Richard Garet: Systematic Sampling https://abstractioninaction.com/happenings/richard-garet-systematic-sampling/


Artists: Audra Wolowiec, Brenna Murphy, Chris Woebken & Sascha Pohflepp, Ellie Irons, Erin Sexton, Genevieve Hoffman, Jess Rowland & Margaret Schedel & Kevin Yager, Melissa F. Clarke & Sue Ngo, Nanu Al-Hamad & Miriam Simun, Natalie Jeremijenko & xDesign Team, Phillip Stearns, Richard Garet and Trish Mackenzie.

Systematic Sampling
January 8 – 22, 2015
Stream Gallery
Brooklyn, NY, USA

Systematic Sampling examines how artists contend with emerging ecologies in a series of art works and performances situated on the continuum between “technology” and “nature,” often exploring this inextricable link. The diverse group of artists all share a proclivity for using research methods and information-parsing in their process towards meaning-making.

Some artists make use of existing scientific and technological systems in their processes, some question these systems, while others work in parallel, devising entirely new forms of ‘sampling’ to produce knowledge. What are the systems that artists are putting in place as they explore emerging ecologies? And what is the “data” that comes forth?

Systematic Sampling explores these questions with a collection of inventive art works that uncover hidden systems and emerging signs of life. A wide range of mediums are represented including sound, light, painting, video, installation and sculpture. Curated by Melissa F. Clarke and Miriam Simun.

Live performances will take place at both the opening and closing events.

Image: Brenna Murphy, “Embodied Entitiy”, 2013.
February 18, 2015 Omar Barquet: Ghost Variations https://abstractioninaction.com/happenings/omar-barquet-ghost-variations/


Artist: Omar Barquet

Ghost Variations
June 18 -20, 2014
Performance: June 17, 2014
MAAS Performance 
Long Island City, NY, USA

“Ghost Variations” is an interdisciplinary proposal launched in 2012 by artist Omar Barquet (Chetumal, México 1979), comprising a sequence of five projects organized like the movements of a symphony, as well as a series of five subprojects generated from experimental collaborations understood as “fugues”. Together they pose an analogy to the distinct evolutionary phases of a hurricane, emulating its intensities and movements, like the sketch of a spiral shape, mainly reflecting on the perception of time through the transformation cycles of a landscape.

2nd Fugue: The Groans of White Noise, brings forth an environment of tension which occurs at a sonorous and performatic level, carrying the spectator’s imagination into the most intense part of a hurricane. It is a project which is based in the emotional and physical tensions experienced in this phase of the meteorological phenomenon, occasionally verging on moments of delirium and using the acceleration of the pulse of the breath as patterns to elaborate the evolution of intensity.

This sonorous action also uses as reference a few fragments of the poems of Licofron, El Obscuro, where he constructs a labyrinth of associations around the ravings of Cassandra, Greek mythological character and Trojan princess.

This epiphany of catastrophe articulates a connecting link in which madness constitutes a repetition of certain phrases of the poem in a sort of mantra, whose progressive acceleration and intensity drift into meaninglessness, generating a confused and dense state, similar to the most intense phase of the storm creating a soundscape. The performance and sound experimentation will be in collaboration with sound and visual artist Richard Garet, and with experimental musician Javier Barquet. Both artists are based in New York City.

5th Fugue: The Broken Poem, is an action taken through video, based on a phrase from a poem by Paul Éluard. It is conceived from fragments of broken chairs, articulating a sculptural typography which quotes the poem slowly, and in fractures. Simultaneous to the projection of these phrases, there is a mound created randomly with the remains of the broken chairs, on a floor soaked with water, corresponding to the flood – the final phase of the Ghost Variations project sequence. Both these fugues depict an analogy of the storm and the chaotic nature of thought, where human emotionality manifests as an unstable and complex phase of the renewing energy of life cycles – a breath which changes in intensity, and as such, the state of things.

Omar Barquet was born in Chetumal, México, September 10th 1979. He received his Bachelor of Fine Arts from ENPEG La Esmeralda, in México City. He has exhibited in various national and international forums, in cities like New York, Tokyo, Buenos Aires, Sao Paulo, Lima, Miami, Basel, Madrid and México City. He is a founding member of the Segundo Piso art collective, composed of Augustin Gonzales, José Luis Landet y Moris. He was the recipient of the Jóvenes Creadores Arts and Culture Fund National Grant, as well as the Arte Actual Bancomer MACG Grant. In 2009, he obtained a two-month residency in Capacete, Rio de Janeiro, Brazil. In 2010, he performed his solo show REVERB, at the Museo Experimental El Eco, and in 2011 was commissioned to develop the LAPSES installation for the brand Hermés Paris – México. In 2013 he completed his residency for Casa Tomada art ists, which concluded with his solo show, entitled Ghost Variations’ 1st Fugue: “The Flock”, in Kunsthalle, Sao Paulo. For the second half of 2014, he is preparing a series of solo shows starting at the MACAY Museum in Mérida, Yucatán, a residency for his first solo show at Mandragoras Arts Space in New York, and a solo project at 123 Space in México City.  Since 2013, he collaborates in GRAMA RUINA, a visual and sound experimental collective with Fernando Soberanes, Javier Loyola, and Xavi Cunilleras.

June 13, 2014 Richard Garet: BioDerivas https://abstractioninaction.com/happenings/richard-garet-bioderivas/


Artists: Richard Garet, Barbara Held and Yapci Ramos

December 13, 2013 – February 14, 2014
Museo de la Naturaleza y el Hombre, Tenerife, Spain

The common link between the first Cabinet of Curiosities of the Renaissance, the Natural History of the seventeenth century and modern research today is the exhibition of objects kept imploring the public to enjoy the experience of the new. The proposal presented to the creators BioDerivas Richard Garet, Barbara Held and Yapci Ramos is closely related to the mission of the museum. Here, in their eagerness to see the world around them, they use technology to capture and display images and sounds that allow re-contextualize our own perception of the world.

The work of Garet, Held and Ramos, both individually and as a whole, highlights the importance of perception through careful listening, focused look and the complex process of human perception, creating a micro-habitat in the museum active exploration rewards and offers thoughtful contemplation for the understanding of the world around us through the senses of sight and hearing.

BioDerivas contrasts the different and unknown to the common, everyday, expanding, thus our knowledge of sound and image within our ecosystem and across the boundaries of language to help understand the complexity of the natural environment.

January 25, 2014 Richard Garet, Adán Vallecillo, Sergio Vega & Luis Roldán: Biennial of Contemporary Art of Cartagena de Indias https://abstractioninaction.com/happenings/richard-garet-adan-vallecillo-sergio-vega-luis-roldan-biennial-contemporary-art-cartagena-de-indias/


The First International Biennial of Contemporary Art of Cartagena de Indias
#1: Cartagena
February 7–April 7, 2014
Cartagena de Indias, Colombia

#1: Cartagena is an issue-oriented project with works spread throughout the historic district. #1: Cartagena reflects on the cultural traditions of the people, the history and the deep connections to the colonial past, as well as encompassing literature, cinema, music, dance and crafts. The Biennial focuses on the idea of presence in its multitude of meanings, conveying how the past continues with us in the present. Structured as a hypertext, the macro project of the Biennial proposes a discontinuous journey through nine locations, each one presenting a multiplicity of narratives and memories. This structure also promotes the re-signification of the city as a monument. The viewer decides their own itinerary, making links from one space to another, stopping here and there to look at the city-monuments, and endowing their chosen circuit with the power, excitement and soul of the city. This personal journey gives meaning to the macro text: the Biennial and its exhibitions, site-specific projects, performances, film program and lectures.

Founded in 1533, Cartagena de Indias is a colonial town located in the center of the northeastern coast of Colombia. Surrounded by the Caribbean Sea, Cartagena has received a unique and interesting confluence of influences over its 500-year history that include pre-Columbian native Aboriginal, Spanish, African and Arab cultures. It is rich in multicultural folklore, and widely considered to be one of the most beautiful cities in the Caribbean.

The Biennial´s Artistic Director is international curator and writer Berta Sichel. For this project, she worked with three co-curators: Bisi Silva, the Center for Contemporary Art, Lagos; Barbara Krulik, independent curator; and Paul Willemsen, film scholar. She also consulted with critics and other curators in the formation of the Biennial.

#1: Cartagenainternational exhibition
Suzanne Anker, Eduardo Abaroa, Helena Almeida, Julieta Aranda, Maria Jose Arjona, Charles Atlas, Radcliffe Bailey, Rosa Barba, Perry Bard, Yto Barrada, Lothar Baumgarten, Terry Berkowitz, Janet Biggs, Anna Boghiguian, Francois Bucher, Trisha Brown, Fernando Bryce, Anna Camner, Peter Campus, Nuria Carrasco, Nick Cave, Willie Cole, Bill Culvert, Elena del Rivero, William Engelen, Nezaket Ekici, Richard Garet, Ximena Garrido-Leca, Justine Graham, Asta Gröting, Federico Guzman, Romuald Hazoume, Diango Hernandez, Kirsten Heshusius, Sheila Hicks, Maria Teresa Hincapie, Candida Höfer, Katie Holten, Shirazeh Houshiary, Satch Hoyt, Marine Hugonnier, Jesper Just, Clemencia Labin, Dana Levy, Ligorano/Reese, Christiane Löhr, Inés Lombardi, Oswaldo Maciá, Lucía Madriz, Marcellvs L., Jenny Marketou, Billy Martin, Julie Mehretu, Zwelethu Methethwa, Marta Minujín, Guillermo Mora, Carlos Motta, Beth Moyses, Maria Nepomuceno, Lorraine O’Grady, Emeka Ogboh, Uche Opka-Iroha, Kristin Oppenheim, Trevor Paglen, Guillermo Paneque, Periferica, João Penalva, Libia Posada, Freya Powell, Khalil Rabah, Jessica Rankin, Luis Fernando Ramirez, Alvaro Restrepo and El Colegio de Cuerpo, Steven Roden, Lotty Rosenfeld, Ruby Rumié, Eduardo Sarabia, Carlos Schwartz, Teresa Serrano, Hassan Sharif, Yinka Shonibare, Kimsooja, Philip Taaffe, Tallur L.N., Alison Elizabeth Taylor, Mickalene Thomas, Ana Torfs, Adán Vallecillo, Raúl Gómez Valverde, Sergio Vega, Anton Vidokle, Leo Villareal, Bill Viola, Stephen Vitiello, Gijs van Bon, Svetlin Velchev, Friedemann von Stockhausen, Pawl Wojtaski, Ming Wong, Betty Woodman, Yin Xiuzhen, Suda Yoshihiro, Dolores Zinny and Juan Maidagan

Imperfect Idler or When Things DisappearColombian artists exhibition
Felipe Arturo, Jaime Avila, Andrés Felipe Castaño, Colectivo Octavo Plastico (Roberto Carlos Pérez, Ana Victoria Padilla, and Emanuel Julio Pinilla), Nicolás Consuegra, Wilson Díaz, Julián Dupont, Juan Manuel Echavarría, Clemencia Echeverri, Adrián Gaitán, Elías Heim, Leonardo Herrera, Juan David Laserna, Verónica Lehner, Diego Mendoza, Ana Maria Millan, Óscar Muñoz, Oscar Murillo, José Olano, Juan Obando, Bernardo Ortiz, Juan Peláez, María Fernanda Plata, Luis Roldan, Miguel Angel Rojas, Maria Isabel Rueda, Wilger Sotelo, Paola Tafur, Pablo Gomez Uribe

January 25, 2014 Richard Garet: f(glitch) https://abstractioninaction.com/happenings/richard-garet-fglitch/


Artists: Richard Garet, Robert Henke, Emma McNally, David Linton, Phoenix Perry, Bethany Shorb

February 10th – March 29th
Simon Center for Geometry and Physics
Stony Brook University, Stony Brook, NY, USA

Noise. Error. Glitch.

The ideal held up for digital technology is frictionless functionality. But systems have bugs, communication is riddled with distortion and channels are often noisy. Error is not a rare occurrence, but a given. Glitch, broadly defined, introduces unintentional events, artifacts, and interruptions. It can be visual or sonic; it can be imperceptible at ordinary levels. There are glitches in programming, in communication, in architecture and infrastructure. But these errors can be illuminating, creative and productive. Glitch can make our systems stronger and more robust. Distortion can be aesthetically vibrant and revealing.Glitch reminds us that noise can be something to be embraced rather than eradicated and that the unexpected is often unexpectedly useful.
(f) Glitch, or The Function of Glitch, is the fourth in a series of events produced by cDACT that interrogate central concepts of digital culture—sound, space, data, and now error and noise.Glitches are a glimpse into the hidden world of technology, exposing the seams in our digital infrastructure.
January 23, 2014 Richard Garet: They Sicken of the Calm Who Know the Storm https://abstractioninaction.com/happenings/richard-garet-sicken-calm-know-storm/


Artists: Greta Alfaro, Julia Chiang, Richard Garet, Pryce Lee, Naama Tsabar and Dustin Yellin

They Sicken of the Calm Who Know the Storm
Curated by Maureen Sullivan
January 16 – February 15, 2014
Fridman Gallery
New York, NY, USA

Beautiful danger, living life to the extreme, broken dreams and endless cycles of incurable hope and pain, screaming on the inside, pulsating with a palpable energy…

These are ideas and emotions evoked by the six artists – Greta Alfaro, Julia Chiang, Richard Garet, Pryce Lee, Naama Tsabar, Dustin Yellin – featured in the exhibition THEY SICKEN OF THE CALM WHO KNOW THE STORM, curated by Maureen Sullivan and presented at FRIDMAN GALLERY, January 16 through February 15, 2014.

Richard Garet’s electrified color-rich moving image “paintings,” created through sound then silenced, cannot be stifled. Julia Chiang’s white chains triumph beauty over function, made all the more implausible by their handmade fragility. Greta Alfaro’s films lure one in with sedate serenity. But the underlying anxiety, created mostly by our own challenges with stillness and yearning for action, is soon realized in a frenzied gluttony, leaving only the remains of the day in its wake. Dustin Yellin’s explosive and collapsed illusions are suspended, dissected and trapped forever in sliced layers of resin. Naama Tsabar plays with signifiers of danger and enjoyment, things that are slick and seductive then fall apart. Here white sheets – the material of dreaming, escape ladders, and Molotov cocktails – slowly absorbs liquor from bottles of alcohol creating a disorienting multisensory – and potentially combustible experience. Pryce Lee shows in NY for the first time with a new 9-piece shattered mirror work created specifically about an incident in the city – the 2012 Empire State Building Shooting. Capturing the randomness, violence and fragility of life, the innocent bystander suffering for being in the wrong place at the wrong time, the work reflects us destroyed and whole.

January 12, 2014 Richard Garet https://abstractioninaction.com/artists/richard-garet/

Richard Garet interweaves various media including moving image, sound, multimedia performance, and photography. In work ranging from modified environments to site specific installations to audiovisual screening works, Garet constructs intimate spaces and immersive situations that draw attention to the processes of perception and cognition, and which activate sensorial, physical, psychological phenomena that reflect on the nature and experience of time. Garet’s pieces, whether conceptual in origin or stemming from his investigation of complex systems and algorithmic translations, are informed by the background noise established by mass media culture and the collective arena that surrounds him. Garet’s reductive process seeks to invert the normative function of this background noise, drawing it up from subliminal status to an active presence. He finds further inspiration from material interactions that incorporate problems of context, technology, defunctionalization, commodity, and environment.

Traducido del inglés

Richard Garet combina varios medios incluyendo imagen en movimiento, sonido, performance multimedia y fotografía. A partir de obras que abarcan desde ambientes modificados a instalaciones específicas u obras de proyección audiovisual, Garet construye espacios íntimos y situaciones inversivas que se enfocan en procesos de percepción y cognición, activando fenómenos sensoriales, físicos y psicológicos que reflexionan acerca de la naturaleza y el paso del tiempo. Las piezas conceptuales de Garet, o las surgidas a partir de su investigación de sistemas complejos y traducciones de algoritmos, se originan del ruido de fondo establecido por la cultura de medios de masa y el campo de colectividad que lo rodea. El proceso de reducción de Garet tiene como objetivo invertir la función normativa de este ruido de fondo, llevándolo de su estatus subliminal a una presencia activa. Garet encuentra mayor inspiración de las interacciones materiales que incorporan problemas de contexto, tecnología, des-funcionalización, mercancía y medio ambiente.

Selected Biographical Information

Education / Training

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions


October 5, 2013