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: 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 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 Ricardo Carioba https://abstractioninaction.com/artists/ricardo-carioba/I intent to create using the minimal elements of the visual and sound languages, often disturbing the habits of our sensibility.
Many of my works were developed after laws or concepts from physics and use light to reveal some characteristics of space, present but usually invisible. I always try to explore in different ways the intervals, the emptiness that defines space.
My intention is to disturb our linguistic and sensible habits in order to decondition it and make possible the birth of different forms of thinking and feeling.
My works are created after recognizing a space empty of desire – they act inside of these empty spaces.
Traducido del inglés
Intento crear usando elementos mínimos de lenguajes visuales y sonoros, a menudo distorsionando hábitos de nuestra sensibilidad.
Muchas de mis obras fueron desarrolladas a partir de leyes o conceptos de la física y utilizan luz para revelar algunas características sobre el espacio, que están presentes pero usualmente invisibles. Siempre trato de explorar los intervalos, el vacío que define el espacio, de diferentes maneras.
Mi intención es interrumpir nuestros hábitos sensibles o lingüísticos para desacondicionarlos y hacer posible el nacimiento de diferentes formas de sentir y pensar.
Mis obras son creadas a partir del reconocimiento de un espacio libre de deseo. Ellas actúan dentro de estos espacios vacíos.
Selected Biographical Information
Education
- 1995-2001: M.A. Visual Arts, Fundação Armando Álvares Penteado, São Paulo, Brazil.
Prizes / Fellowships
- 1999-2000: Fellowship Award – 31° Anual de Arte FAAP, Fundação Armando Alvares Penteado, São Paulo, Brazil.
- 2007-2008: Visiting Arts – Artist Links Residencies, Arts Council England and British Council, London, England.
Solo Exhibitions
- 2014: “Sem Título”, Coletor, São Paulo, Brazil.
- 2013: “Escopo”, Paço das Artes, São Paulo, Brazil.
- 2010: “Escape para outra estática”, Museu da Imagem e do Som, São Paulo, Brazil.
- 2009: “Branca Sua”, Centro Cultural São Paulo, São Paulo, Brazil.
- 2007: “In Side#No Form”, Galery 32, London, England.
- 2007: “LA DO”, Oi Futuro, Rio de Janeiro, Brazil.
- 2004: “White Box”, Galeria Vermelho, São Paulo, Brazil.
- 2003: “Motriz”, Paço das Artes, São Paulo, Brazil.
- 2001: “Sem Título”, Casa Triângulo, São Paulo, Brazil.
Group Exhibitions
- 2014: “Made by… Feito por Brasileiros“, Cidade Matarazzo, São Paulo, Brazil.
- 2014: “grove”, SP Arte, São Paulo, Brazil.
- 2014: “Estado de suspensão”, Coletor, São Paulo, Brazil.
- 2013: “Expo Projeção 1973-2013”, SESC Pinheiros, São Paulo, Brazil.
- 2013: “18º Festival de Arte Contemporânea Videobrasil“, SESC Pompéia, São Paulo, Brazil.
- 2011: “Travessias“, Bela Maré, Rio de Janeiro, Brazil.
- 2011: “17º Festival de Arte Contemporânea Videobrasil/ Panoramas do Sul”, SESC Belenzinho, São Paulo, Brazil.
- 2010: “QUEM TEM MEDO?”, Galeria Vermelho, São Paulo, Brazil.
- 2010: “The Creators Project“, New York, Beijing and São Paulo, USA, China and Brazil.
- 2009: “Ao redor de 4’33”, 7ª Bienal do Mercosul, Porto Alegre, Brazil.
- 2009: “Atenção: estratégias para perceber a arte”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- 2008: “Verbo”, Galeria Vermelho, São Paulo, Brazil.
- 2005: “12º Salão da Bahia”, Museu de Arte Moderna da Bahia, Salvador, Brazil.
- 2004: “Fotografia e Escultura no acervo do MAM”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- 2006: “Em Torno de Operações Mentais – Artes, hibridismos e interculturalidades”, Instituto de Ciências da Arte, Belém, Brazil.
- 2007: “Comunismo da Forma”, Galeria Vermelho, São Paulo, Brazil.
- 2002: “30° Salão de Arte Contemporânea de Santo André“, Casa do Olhar Luiz Sacilotto, Santo André, Brazil.
- 2000: “Fotografia Contemporânea Módulo 1”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- 2000: “32° Anual de Arte”, Fundação Armando Álvares Penteado, São Paulo, Brazil.
- 1999: “Panorama de Arte Brasileira”, Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
Publicactions
- Desdobramentos da Pintura do séc. XXI (Rio de Janeiro: Editora Cobogó).
- Casa Triângulo 2013/1988 (São Paulo: Casa Triângulo).
- Elvira Vigna, “Sendo idioticamente didática: música eletrônica ressensibiliza as pessoas de dois modos”, Aguarrás, 2010.
- Marta Bogéa, “Deslocamentos acerca do cubo branco“, Arquitextos, 2007.
Collections
- Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- Fundação Vera Chaves Barcellos, Porto Alegre, Brazil.
About the Artist
I always thought of sound, volume and rhythm breaking through boundaries and barriers in search for a place by looking for ways in which to visualize how this sound could be “seen” if it were traveling in a room, a body, or a garden.
My present work is about exploring sound structures in a sensorial manner, where I feel that music and nature come together in a type of code. In my earlier work I would attempt to ‘draw’ sound as it traveled through an architectural space. Visually it could be compared to a plant or bindweed traveling through space as it searches for its direction.
Presently, I am working on deconstructing that what produces sound by separating its parts. For instance, as in a musical instrument: I separated the body of the guitar from the neck, the cords and the pick guard.
By expanding the body of the instrument to the proportion of our bodies I want to express the explosion of sound through color and form. Through my extensive research of instruments and its components, I arrived at the LPs, and the beauty and meaning of its covers and sleeves. My generation received the last drop of the LP’s industry and the memory of listening to my parent’s records while looking at the covers reminded me how the visual part was so important.
Thirty by thirty cm cover is a huge area to represent the sound that is there, and to me the LP was always an object of awe and desire. In my most recent work, I presented the records and sleeves in frames to relate them to the golden age of the music industry—now found in Music Museums with their walls covered with the platinum and golden records suggesting the completion of an anachronistic ritual of our days of MP3, which involved a different relation between the body (hearing) and sound.
—
Siempre pensé en cómo el sonido, volumen y ritmo cortan los límites y las barreras en busca de un lugar; buscando maneras de visualizar cómo este sonido podría ser “visto” si viajase en un cuarto, un cuerpo, o un jardín.
Mi obra reciente aborda la exploración de estructuras de sonido de una manera sensorial, desde la que siento que la música y la naturaleza se unen en un tipo de código. En mi obra más temprana intenté “dibujar” el sonido a medida que avanzaba en el espacio y buscaba su dirección.
Hoy en día estoy trabajando en deconstruir aquello que produce sonido, separando sus partes. Por ejemplo, en un instrumento musical separé el cuerpo de la guitarra del mástil, las cuerdas y la caja protectora.
Al expandir el cuerpo del instrumento a la proporción de nuestros cuerpos, quiero expresar la explosión de sonido por medio del color y la forma. Mediante mi extensa investigación sobre los instrumentos y sus componentes, llegué a los LPs y la belleza y significado de sus portadas y cubiertas. Mi generación recibió la última gota de la industria de los LPs y la memoria de escuchar los álbumes de mis padres mientras que las portadas me recordaban la importancia de la parte visual.
Una portada de treinta por treinta centímetros es un área muy amplia para representar el sonido que está dentro y para mí el LP siempre fue un objeto de asombro y deseo. En mi obra más reciente presento los discos y carátulas en cuadros, para relacionarlos con la época de oro de la industria musical que ahora se encuentra en museos de música y sus muros cubiertos de los discos de platino y oro, sugiriendo el fin del ritual anacrónico de nuestros días del MP3, los cuales significaron una relación diferente entre el cuerpo (la acción de escuchar) y el sonido.
Selected Biographical Information
Education / Training
- 1999-2003: Fine Arts, Fundação Armando AAlvares Penteado FAAP, Aão Paulo, Brazil.
Prizes / Fellowships
- 2003: Bolsa-Prêmio – 35° Anual de Arte , FAAP Fundação Armando Alvares Penteado, São Paulo, Brazil.
- 2004: Art in Residency Programme at Gasworks Gallery – 1° lugar Prêmio Chamex de Arte Jovem, Chamex, London, England.
- 2008: Mountain School of Arts Residency, Mountain School of Arts, Los Angeles, ESA.
Solo Exhibitions
- 2013: “gravações perdidas [lost recordings]“, Galeria Vermelho, São Paulo, Brazil.
- 2013: “no no yes please“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2012: “sunburst“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “O papel do jardim [the role of the garden]”, Galeria Silvia Cintra + Box4, Rio de Janeiro, Brazil.
- 2010: “KOTO “, Galeria Vermelho, São Paulo, Brazil.
- 2010: “Place to Be”, GaleryRio, Nantes, France.
- 2009: “LUGAR”, Camara de Comércio de Bogotá, Bogotá, Colombia.
- 2007: “Mirante”, Galeria Lunara, Porto Alegre, Brazil.
- 2007: “Pausa [pause]“, Galeria Vemelho, São Paulo, Brazil.
- 2006: “Cruzamentos – Caminhos [crossings – paths]”, DRCLAS – Harvard, Cambridge, USA.
- 2006: “Cruzamentos – Encontros [crossings – encounters]”, Boston Arts Academy, Boston, USA.
- 2006: “Sweet Melody“, LABF15, Lyon, France.
- 2005: “Firehouse“, De Vleeshal, Middelburg, Holland.
- 2005: “Viga Mestra [main beam]“, Galeria Vermelho, São Paulo, Brazil.
Group Exhibitions
- 2013: “Imagine Brazil“, Astrup Fearnley Museet, Oslo, Norway.
- 2013: “Prospect 1“, Museum of Contemporary Art San Dieg, San Diego, USA.
- 2013: “Tomie Ohtake Correspondências“, Instituto Tomie Ohtake, São Paulo, Brazil.
- 2011: “Contra a Parede [against the wall]“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “32º Panorama da arte Brasileira“, Museu de Arte Moderna [MAM SP] , São Paulo, Brazil.
- 2010: “Quem tem medo?”, Galeria Vermelho, São Paulo, Brazil.
- 2008: “Blooming Brasil-Japão – O seu lugar – [Blooming Brasil-Japan – Your Place]“, Toyota Municipal Museum of Art , Province of Aichi, Japan.
- 2008: “Exposição de Verão”, Galeria Silvia Cintra-Box 4, Rio de Janeiro, Brazil.
- 2007: “Futuro do Presente [the future of the present]”, Instituto Itaú Cultural, São Paulo, Brazil.
- 2006: “10 anos + 1 – Os anos recentes da arte brasileira – [10 years + 1 – the recent years of brazilian art]“, Instituto Tomie Othake, São Paulo, Brazil.
- 2006: “Urban Spaces“, DNA Galerie, Berlin, Germany.
- 2006: “Rumos Itaú Cultural 2005/2006 Artes Visuais”, Instituto Itaú Cultural, São Paulo, Brazil.
- 2005: “Panorama “, Museu de Arte de São Paulo [MAM SP], São Paulo, Brazil.
- 2005: “J’en Rêve“, Fondation Cartier, Paris, France.
- 2004: “udo Aquilo que Escapa – 46° Salão Pernambucano de Artes Plásticas“, Espaço Cícero Dias do Museu do Estado, Recife, Brazil.
Publications
- Luiz Camillo Osorio, Coleção Gilberto Chauteaubriand (Rio de Janeiro: Barléu Edições LTDA.), 133.
Collections
- Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- De Vleeshal, Middelburg, Holland.
- Harvard University, Cambridge, USA.
- Museum of Contemporary Art San Diego, San Diego, USA.
- Coleção Gilberto Chateaubriand -Museu de Arte Moderna [MAM RJ], Rio de Janeiro, Brazil.
Translated from Spanish
Music in movement: dance. Music in poetry: song. Music in writing: a score. How to translate Music into painting? My work is born from the deep necessity to fuse my two vocations: music and visual arts. I first memorize a song, I study it. Then I choose a common place, on the sidewalk, on a wall… and I draw the music—how I hear it, how it comes out of the chalk, how I see it.
Música en movimiento: la danza. Música en poesía: una canción. Música escrita: una partitura. ¿Como traducir la Música en pintura? Este trabajo nace de una necesidad profunda de fusionar mis dos vocaciones: la música y las artes visuales. Primero memorizo la canción, la estudio. Luego escojo un lugar cualquiera, sobre la acera, en un muro… Y dibujo la música. Como la escucho, como nace bajo la tiza, como la veo.
Selected Biographical Information
Education / Training
- Master de Artes Plásticas en la Universidad de París I, La Sorbonne.
Prizes / Fellowships
- 2008: Prix Spécial du Jury, Festival Côté Cour, Paris, France.
Solo Exhibitions
- 2012: “Rhythm & Chalks, videos by Fabiana Cruz”, LA Artcore Center, Los Angeles, CA, USA.
- 2010: “SaludArte Foundation”, IdeoBox ArtSpace, Miami FL, USA.
Group Exhibitions
- 2013: “Arte Para Cuatro”, Aires de Córdoba, Córdoba, Spain.
- 2013: “Schöffer dnas le monde”, Institut Hongrois, Paris, France.
- 2012: “Venezuela en Arts”, Marcigny, France.
- 2010: “Dialogues: Chapters of Latin American Art in the MOLAA Permanent Collection”, MOLAA, Long Beach, CA, USA.
- 2010: “Toys ART US”, Curator’s Voice Project Space, Miami, USA.
- 2008: “Marked Pages II”, Sicardi Gallery, Houston TX, USA.
- 2010: “Art Dans les Bars”, Baraka productions, au O’ Duo café, Paris, France.
- 2010: 1rst International Art Triennale, Satoru Sato Museum, Tome, Japan.
- 2010: “Collect Collage”, Estudio Arte 8, Caracas, Venezuela.
- 2010: “Inestabilidad”, Marion Gallery, Panama City, Panama.
Collections
- Museum of Latin American Art (MOLAA), Los Angeles CA, USA.
- DePauw University, Greencastle IN, USA.
Translated from Spanish
I have recently developed an investigation that proposes various relationships among concepts of space, time, landscape, sound, silence, memory, and perception. The idea of variation is understood as the metamorphosis and interaction that occurs within this glossary of concepts, and which merges a series of projects where experimentation with different media and processes function as central axis of my artistic practice, and which allows a sense of dynamics during the process of the work itself.
Based on this outline, I began an interdisciplinary project in 2013, titled Ghost Variations, which states an analogy between the evolutionary phases of a hurricane and the movements of a symphony, giving to each one of its phases a selection of formal elements and collaborative practices for its production.
Recientemente, he desarrollado una investigación que propone diversas relaciones entre los conceptos de espacio, tiempo, paisaje, sonido, silencio, memoria y percepción. La idea de variación es entendida como la metamorfosis e interacción que acontece entre este glosario de conceptos y que integran una serie de proyectos donde la experimentación con diversos medios y procesos funciona como eje de mi práctica artística, los cuales otorgan un sentido dinámico durante el proceso mismo de la obra.
Basado en este esquema, inicié en 2013 un proyecto interdisciplinario titulado Ghost Variations, el cual articula una analogía entre las fases evolutivas de un huracán y los movimientos de una sinfonía, otorgando a cada una de sus fases una selección de elementos formales y estrategias colaborativas para su realización.
Selected Biographical Information
Education / Training
- Escuela Nacional de Pintura, Escultura y Grabado La Esmeralda, Mexico City, Mexico.
- 2001 – 2006: Licienciatura en Artes Plásticas, Mexico City, Mexico.
Prizes / Fellowships
- 2013: Residencia Artística en CASA TOMADA, Sao Paulo, Brazil.
- 2009: Residencia Artística en CAPACETE, Río de Janerio, Brazil.
- 2009: Beca Arte Actual Bancomer – MACG 2009.
- 2008-09: Beca Jóvenes Creadores 2008 – 09, FONCA.
- 2004-05: Beca Jóvenes Creadores 2004 – 05, FONCA.
- 2003: Segundo lugar, Premio Philips Art Expression, X Edición, Museo de Imagen y Sonido, Sao Paulo, Brazil.
- 2003: Primer lugar, Premio Philips Art Expression, X Edición, Museo de Arte Moderno, Mexico City, Mexico.
- 2002: Mención Honorífica, Un espacio de 35 mm, Televisa, Centro de la Imagen, Mexico City, Mexico.
- 2002-03: Beca Jóvenes Creadores 2002 – 03, FECAQROO.
- 2002-06: Beca Fundación Telmex.
Solo Exhibitions
- 2013: “1st Fugue”, Kunsthalle Sao Paulo, Brazil.
- 2012: “Half Day Closing”, Pinta Art Fair, NYC, USA. (Curator: Jacopo Crivelli)
- 2012: “Ghost Variations 1 (Prelude)”, Galería Arróniz, Mexico City, Mexico. (Curator: Christian Barragán)
- 2011: “Lapses”, Hermés Store, Mexico, DF. (Curator: Tobías Ostrander)
- 2010: “Reverb“, Museo Experimental El Eco, Mexico DF. (Curator: Tobías Ostrander)
- 2010: “Pautas”, Dot Fifty One Gallery, Miami, USA.
- 2008: “Estudio”, Trolebús Galería, Mexico City, Mexico. (Curator: Ariadna Ramonetti)
- 2008: “Suspensión, alineación y balanceo”, Galería Arróniz, Mexico City, Mexico.
- 2007: “Axis”, Laboratorio Dzityá, Yucatan, Mexico.
Group Exhibitions
- 2013: “Emmathomasteca“, Galería Emma Thomas, Sao Paulo, Brazil (Curator: Marta Ramos Yzquierdo)
- 2013: “Materia Sensible“, Gabinete grafico, Museo Carrillo Gil, Mexico City, Mexico. (Curator: Caroline Montenat)
- 2012: “XV Bienal de Pintura Rufino Tamayo“, Museo Tamayo, Mexico D.F. Colectiva Mexico, Galería Baró, Sao Paulo, Brazil.
- 2011: “Re Cover”, Casa del Lago, UNAM, Mexico City, Mexico.
- 2010: Hecho en Casa, Fundación Ex – Molino, Mexico City, Mexico.
- 2010: “Arte Actual, Programa Bancomer MACG”, Museo de Arte Carrillo Gil, Mexico City, Mexico. (Curatoras: Ruth Estévez y Sarah Demeuse)
- 2009: “Trabajo de espacio”, Galería Arróniz, Mexico City, Mexico.
Publications
- 2012: MPBA, Museo del Palacio de Bellas Artes.
- 2011: ABSTRACCION TEMPORAL, Museo Experimental El Eco / UNAM / 2011.
- 2011: MEMORIAS, Casa del Lago / UNAM / 2011 + 2007.
- 2010: PROGRAMA BBVA BANCOMER – MACG.
- 2005-2009: TROLEBUS.
- 2004-2005:MEMORIAS JOVENES CREADORES 2004- 205.
Collections
- Museo de Arte Contemporáneo de Oaxaca, Mexico.
- La Colección Júmex, Mexico.
- Jorge Pérez Collection, Miami, USA.
- Joahn Hickey Collection, NY, USA.
- Sayago & Pardon Collection, Los Angeles, USA.
Links
I explore the materiality of language, the phonetic, visual and poetic dimensions of a text or a word as a two-and three-dimensional entity in the context of human relations. I am drawn to what lies among the uttered and the suppressed. For thinking dictates form, a line, an accent, the cadence of silence, all form narratives both in drawing and language. I expose the intersection of the aural and the visual, one where words, text and involuntary sounds are transformed into a visible, physical form. Eventually words are muffled, subtracted, removed from speech, configuring blocks or silent pauses. In acoustic wall #1 what appears like voiceless theater notations (images 1-2) confronts the viewer with vinyl text phrases (“she whispers to herself,” “quite loud this time,” “faint pause,” “stops herself”) which stretch across a twenty-seven feet wall. In phonetic neon [aha], 2011,(image 3) I distill down the excess of language to make apparent an unintentional sound. Aha outlines a sonorous pause, an involuntary gap in between words. Four, thirty-three, 2011, (image 4) 1 minute=1 inch, evokes John Cage’s statement that silence is not acoustic, highlighting physically the activity of sound in an environment. Snippets (images 7-10) is a collection of videos of an average duration of 1 minute, of everyday situations that seem to have gone astray. An elevator stops between floors, a woman whispers to herself, a child fumbles for words. Disembodied characters are aware of their absurd fate, while they do not exist except in the viewer’s imagination. Yet at the end it is all the same, what we don’t see is just as important as what we perceive. Technically these silent subtitled narratives that derive from my writing fade—in and out—on a black slate devoid or other images. Drawn from the video’s discarded sound, recorded words vibrate in inaudible patterns, becoming the graphic representation of the cadence of my voice.
Traducido del inglés
Exploro la materialidad del lenguaje, las dimensiones fonéticas visuales y poéticas de un texto o de una palabra como entidad bidimensional y tridimensional en el contexto de las relaciones humanas. Me atrae aquello que se encuentra entre lo pronunciado y lo reprimido. Debido a que el pensamiento dicta la forma, una línea, un acento, la cadencia del silencio, todos conforman narrativas en el dibujo y en el lenguaje. Revelo la intersección de lo aural y lo visual; donde las palabras, el texto y los sonidos involuntarios se transforman en formas visibles y físicas. Eventualmente las palabras se reprimen, se substraen, se remueven del habla, configurando bloques de pausas silenciosas. En pared acustica #1(acoustic wall #1), lo que aparentan ser notaciones teatrales sin voz (imágenes 1-2), confrontan al espectador con frases de texto en vinilo (“susurra a sí misma”, “muy alto esta vez”, “tenue pausa”, “se detiene a si misma”), las cuales se extienden a lo largo de un muro de más de ocho metros. En neón fonético [aha] 2011 (phonetic neon[aha]) (imagen 3), depuro el exceso del lenguaje para revelar un sonido accidental. Aha destaca una pausa sonora, un espacio involuntario entre palabras. Cuatro, treinta y tres, 2011 (four thirty-three)(imagen 4), 1 minuto = 1 pulgada, evoca la declaración de John Cage de que el silencio no es acústico, enfatizando físicamente la actividad del sonido en un ambiente. Breves (snippets) (imagenes 7-10) es una colección de videos con una duración promedio de un minuto, de situaciones cotidianas que parecen estar fuera de control. Un elevador se para entre pisos, una mujer se susurra a sí misma, un niño balbucea en busca de palabras. Personajes incorpóreos se percatan de su destino absurdo, mientras que no existen excepto en la imaginación del espectador. Sin embargo al final todo es lo mismo, lo que no vemos es igual de importante de lo que percibimos. Técnicamente estas narrativas subtituladas silentes que provienen de mi escritura, se desvanecen (por dentro y por fuera) en un fondo negro, carente de otras imágenes. Procedentes del sonido descartado del video, palabras grabadas vibran visualmente en patrones inaudibles, convirtiéndose en representaciones gráficas de la cadencia de mi voz.
Selected Biographical Information
Education / Training
- MFA School of Visual Arts, NYC.
- BFA School of Visual Arts, NYC.
Prizes / Fellowships
- 2012: Virginia Center for the Creative Arts, Fellowship Residency, Amherst, VA.
- 2012: The Fountainhead Residency, Miami, FL.
- 2010-2011: The Marie Walsh Sharpe Art Foundation Space Program, New York.
- 2011: Nominated for the Rema Hort Mann Foundation grant.
- 2002: The Banff Centre for the Arts Residency, Alberta, Canada.
- 2000: MFA Fellowship School of Visual Arts, New York, NY.
- 1994: AIM Program, The Bronx Museum of the Arts, New York, NY.
Solo Exhibitions
- 2012: “On AIR”, RH Gallery, New York, NY.
- 2008: “Snippets”, Sonja Roesch Gallery, Houston, TX.
- 2007: “Like you I Forgot”, Alejandra von Hartz Gallery, Miami, FL.
- 2003: “who, what, where”, Galerie Articule, Montreal, Canada.
- 2002: “who, what, where”, Banff, Centre for the Arts, Alberta, Canada.
Group Exhibitions
- 2013: RH Gallery, NYC.
- 2012: Hunter College Time Square Art Gallery, New York, NY.
- 2011: RH Gallery, New York, NYC.
- 2010: Massey University, Wellington, New Zealand.
- 2009: RMIT University, Melbourne, Australia.
- 2008: PS1/MOMA Center for Contemporary Art, LIC, New York.
- 2007: Non Objective, Sydney, Australia.
- 2006: Institute of Contemporary Art, Philadelphia.
- 2005: Jersey City Museum, NJ.
- 2005: Alejandra von Hartz Gallery, Miami, Florida.
Publications
- Batet, Janet, “El Arte: Un lenguaje mas alla de la forma”, El Nuevo Herald, Miami, FL, September 10, 2013.
- Roniger, Taney, “On Air”, Soledad Arias, RH Gallery, New York, NY. On Verge, Alternative Art Criticism. July 6 2012.
- Kartofel, Graciela, “Notations: The Cage Effect Today”, Hunter College Art Galleries, New York, Art Nexus Magazine, Issue # 85 pages, 115-117, June, 2012.
- Bardier, Laura, “Soledad Arias”, RH Gallery, Arte Al Dia International Magazine. Issue #139, page 106, June, 2012.
- Tschida, Anne Knight Arts. Text based show expresses more than what words can say. May 4, 2012.
- Miranda, Carolina A. Soledad Arias, ON AIR. “This Week: Must-See Arts in the City.” WNYC (May 2, 2012).
- “Notations: The Cage Effect Today”, Exhibition Catalogue. Hunter College/Time Square Gallery, February 2012.
- Index Issue No. 2, September 2011, Melbourne, Australia, Edition of 50. Published by Justin Andrews.
- Garland Fielder, Soledad Arias, Gallery Sonja Roesch. Artlies Contemporary Art Magazine, Issue 61, Spring 2009, Houston, Texas.
- Literal magazine, Latin American voices, Soledad arias,Words vibrate, Pages 14-16, Volume 16. Spring 2009.
- Garland Fielder, “Critics’s picks”, Artforum online, Accrochage, Gallery Sonja Roesch, Houston, Texas, January 2009.
- When Art (or in what regard) a collaborative project initiated by Jannette Doyle. Socrates Sculpture Park, August 2007.
- Fontana, Lilia. Soledad Arias, Alejandra von Hartz Gallery, Arte al Dia International, Issue 119, page 119, june 2007.
- Edith Newhall, Traveling Show finds A World of Influences, ICA, Bartram’s Garden host works, The Philadelphia Inquirer.
- The Arts, p. 31 May 12, 2006.
- Reisman, Sara. Soft Sites, exhibition publication. Institute of Contemporary Art, Philadephia, April 2006.
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