Translated from Spanish
A look to the past has allowed me to confirm that, intuitively, instability has been a common thread in my research; though it would seem not to be present in all the works I have produced, it always appears in different ways. There are pieces in which I work with a structural instability in it, which is caused by the various possibilities offered by the connections and the links, allowing to change the work into potential forms that are prepared for a possible transformation. In other works instability is more subtle, made through the visibility of the material, for example, through the light that can make a work invisible in front of the spectator. In the last decade, with video, I have been able to introduce sound as a breaking element. Video has also given me the possibility to work with temporary nature. I believe instability refers to movement, break, or something that is ready for a possible transformation. When I work, I do so from “being with” and not from “going to.” I believe this has eliminated projection to the future and has turned the work more timeless, losing with this some historicity, and causing that the work would not be another place in a line. This “being with” is what opens the door to the world, to nature, and allows me, suddenly, to imagine a Mondrian in motion when I see a macaw or I listen to the rain.
Una mirada hacia atrás me ha permitido constatar que, intuitivamente, la inestabilidad ha sido un hilo conductor de mi investigación; a pesar de que pareciera no estar presente en la totalidad de las piezas que he hecho, siempre aparece de distintas maneras: hay obras en las que trabajo con una inestabilidad estructural propiamente dicha, la cual está dada por las distintas posibilidades que ofrecen las conexiones, los vínculos, y que logran convertir las obras en formas potenciales que se presentan dispuestas a una posible transformación; en otras obras la inestabilidad es elaborada más sutilmente, a través de la visibilidad del material; por ejemplo, gracias a la luz que puede hasta hacer desaparecer una pieza ante el observador; y en la última década, con el video, he podido introducir el sonido como elemento de quiebre. El video me ha dado, además, la posibilidad de trabajar la temporalidad. Creo que la inestabilidad habla del movimiento, del quiebre o de algo que está listo para una posible transformación. Cuando trabajo lo hago desde un “estar con”, y no de “ir hacia”, siento que eso ha restado la orientación a futuro y ha vuelto el trabajo más atemporal; perdiendo con esto algo de historicidad, haciendo que el trabajo no sea únicamente un lugar más en una línea. Ese “estar con” es el que abre la puerta al mundo, a la naturaleza; y me permite, de pronto, imaginarme un Mondrian en movimiento cuando veo una guacamaya o escucho la lluvia.
Selected Biographical Information
Education / Training
- 2001-2004: Graduate Institute of Art Studies Armando Reveron.
- 1993-2000: Freelance graphic design, Italy.
- 1990-1993: A Study of C Fronzoni. Milan, Italy. Specialty Inscape and Graphic Design.
- 1985-1989: Naumann Institute. Caracas, Venezuela. Degree in graphic design.
- 1982-1984: Catholic University Andrés Bello (UCAB). Physics & Mathematics.
Prizes / Fellowships
- 2009: Premio X Bienal de Cuenca, “Poéticas del agua”, Cuenca, Ecuador.
- 2009: Premio de la Crítica, Mejor artista extranjera, IV Foro Atlántico.
- 2009: Pontevedra, Spain.
- 1999: Premio único, VI Bienal de Artes Visuales Christian Dior. Centro Cultural Corp Group, Caracas, Venezuela.
- 1998: Premio Arturo Michelena, LVI Salón Arturo Michelena, Valencia, Venezuela.
- 1996: Premio único, VIII edición Premio Eugenio Mendoza, Sala Mendoza, Caracas, Venezuela.
- 1992: Premio en la Competencia Internacional de Afiches: “Man, Nature, Society”, Moscow, Russia.
Solo Exhibitions
- 2012: “Grises: un proyecto de Magdalena Fernández”, NC-Arte, Bogotá, Colombia.
- 2012: “2iPM009”, MOLA Museum of Latin American Art, Long Beach, CA, USA.
- 2011: “Geometría Movil”, Henrique Faría Fine Art, NY, USA.
- 2011: “2iPM009”, Patricia and Phillip Frost Art Museum, Florida International University FIU. Miami, FL, USA.
- 2011: “Objetos Movimientes. Tierras-Estructuras-Atmósferas”, Faría+Fábregas Galería, Periférico Caracas/Arte Contemporáneo and Centro Cultural Chacao. Caracas, Venezuela.
- 2010: “2iPM009”, Complete Concrete, haus konstruktiv, Zurich, Switzerland.
- 2010: “Site specific 1i010”, Residencia de la Emabajada de Francia, Caracas, Venezuela.
- 2006: “Superficies”, Museo de Arte Contemporáneo, Caracas, Venezuela.
- 2006: “Superficies”, CIFO: Cisneros Fontanals Art Foundation. Miami, USA.
- 2000: “Líneas”, Galeria Pedro Cera, Lisboa, Portugal.
- 2000: “2i000”, Galleria Disegno Artecontemporanea, Mantua, Italy.
- 2000: “4i000”, Museo Alejandro Otero, Caracas, Venezuela.
- 1998: “Aires”, Sala Mendoza, Caracas, Venezuela.
- 1997: “2i997”, Museo de Arte Moderno Jesús Soto, Ciudad Bolívar, Venezuela.
- 1996: “1i996”, Centro Verifica 8+1, Venecia-Mestre, Italy.
- 1993: “Estructuras”, Sala Mendoza, Caracas, Venezuela.
- 1991: “Esperando la Palabra”, Municipio de Castiglione delle Stiviere, Mantua, Italy.
Group Exhibitions
- 2013: “Emilio Fernandez Zingg”, El Paisaje del Color, Hacienda La Trinidad Parque Cultural, Caracas, Venezuela.
- 2013: “Mouvement et Lumière”, Centro de Arte Contemporáneo Frank Popper, Marcigny, France.
- 2013: “Memorias de la Obsolecencia. Selección de Videos de la Colección Ella Fontanals Cisneros”, Centro de Arte Contemporáneo Wilfredo Lamb. La Habana, Cuba.
- 2012: “Diálogos Contemporáneos desde La Colección”, Museo de Arte Contemporáneo, Caracas, Venezuela.
- 2012: “Contaminados”, Sala Mendoza, Caracas, Venezuela.
- 2012: “Histórica: Memoria y territorio: Colección Mercantil”, Espacio Mercantil, Caracas, Venezuela.
- 2012: “Venezuela en Arts”, Bienal de Marcigny, Museo de Arte Contemporáneo Frank Popper, Marcigny, France.
- 2012: “GEGO obra abierta: testimonios y vigencia”, Museo de Arte Contemporáneo, Caracas, Venezuela.
- 2012: “Medios y Ambientes”, Museo Universitario del Chopo, Mexico City, Mexico.
- 2011: “Moment”, Doris Mc Carthy Gallery, University of Toronto Scarborough, Toronto, Canada.
- 2010: “Bienal Internacional de Arte Contemporáneo ULA”, Mérida, Venezuela.
- 2010: “2pmTG010”, Ortalis ruficauda, La Nuit Blanche 2010, NMarino Galería, Paris, France.
- 2010: “Negativa Moderna”, Henrique Faría Fine Art, Nueva York, USA.
- 2010: “Neoplastic Room”, Open Composition, Muzeum Sztuki w Lodzi, Lodz, Poland.
- 2009: “Poéticas del agua”, X Bienal de Cuenca, Cuenca, Ecuador.
- 2009: “Mundos en Proceso”, 53º Bienal de Venecia, Pabellón de Venezuela, Venecia, Italy.
- 2009: “Steellife”, Trienal de Milán. Studio Chiesa, Fundación Marcegaglia, Milano, Italy.
- 2009: “Acciones Disolventes”, Centro Cultural Chacao. Caracas; Museo de Arte Moderno Jesús Soto. Ciudad Bolívar, Venezuela.
- 2009: “Space Unlimited”, Art Museum of the Americas, Washington, D.C., USA.
Collections
- Fundación de Museos Nacionales – Galería de Arte Nacional.
- Museo Alejando Otero, Caracas, Venezuela.
- Colección Mercantil, Caracas, Venezuela.
- Colección Cisneros, Caracas, Venezuela.
- Alcaldía de Natanya, Israel.
- Museo Soto.
- Colección CIFO.
- Museo de Arte de Miami.
- Colección Allegro.
- Colección D.O.P.
- Muzeum Sztuki w Lodzi. Lodz. Poland.
- Museun of Fine Arts. Huston USA.
- Fundación Coppel.
- The Museum of Contemporary Art. Los Angeles CA. USA.
- Colección Alejandro González.
- Magdalena Fernández, “1pmAO010”, 2010, Series: Pinturas Móviles, Digital animation, videoloop 3′. Photo credit: Graciela Moser. Image courtesy of the artist.
- Magdalena Fernández, “2iPM009”, 2009. Photo credit: A.Burger. Image courtesy of haus Konstruktive, Switzerland.
- Magdalena Fernández, “1pmS011″, 2011, Series: Pinturas Móviles, Digital animation, videoloop 6’50”. Photo credit: Antonio Chagin. Image courtesy of the artist.
- Magdalena Fernández, “1iHO008”, 2008, Series: Pinturas Móviles, Digital animation, videoloop 5′. Photo credit: Fernando Klint. Image courtesy of the artist.
- Magdalena Fernández, “1pm006″, 2006, Series: Pinturas Móviles, Loop 1’54”. Image courtesy of the artist.
- Magdalena Fernández, “1dpm006 “, 2006, Series: Dibujos y pinturas móviles, Videoloop 8′. Image courtesy of the artist.
- Magdalena Fernández, “2dmSLW004″, 2004, Series: Dibujos Móbiles, Videoloop 15’56”. Photo credit: M. Fernández. Image courtesy of the artist.
- Magdalena Fernández, “2em999”, 1999, Stainless steel wire and connections, 200 x 400 x 60 cm. Photo credit: Antonio Chagin. Image courtesy of the artist.
- Magdalena Fernández, “5em999”, 1999, Pipes and fittings in polished aluminum, Pipe 300 cm, Variable dimensions. Photo credit: Severino Orlandi. Image courtesy of the artist.
- Magdalena Fernández, “21e999”, 1999, Wire and stainless steel cylinder, 70 x 177 cm. Private Collection. Photo credit: Antonio Chagin. Image courtesy of the artist.
- Magdalena Fernández, “1i995”, 1995, Aluminum tubes and steel springs painted black, Variable dimensions. Photo credit: M.Fernández. Image courtesy of the artist.
- Magdalena Fernández, “1i007”, 2007, Fiber optics cables and lighting, Variable dimensions. Photo credit: M.Fernández. Image courtesy of the artist.
- Magdalena Fernández, “1i009”, 2009, Stainless steel and lights, 600 x 600 cm aprox. Photo credit: Danielle Gaspari. Image courtesy of Studio Chiesa.
- Magdalena Fernández, “1i997”, 1997, PVC pipes and turned wood connections, painted white, Variable dimensions. Photo credit: Migue Ángel Clemente. Image courtesy of Galería de Arte Nacional, Caracas
- Magdalena Fernández, “1eu008”, 2008, Series: estructura urbana, Steel, acrylic and lighst, Variable dimensions, Site specific project. Image courtesy of the artist.
Selected Biographical Information
Education / Training
- 1996: Yale University MFA sculpture.
- 1992: Whitney Museum Independent Study Program.
Prizes / Fellowships
- 1999: The John Simon Guggenheim Memorial Foundation Fellowship.
- 1990: The Pollock-Krasner Foundation Grant.
Solo Exhibitions
- 2013: “Disassembling Paradise”, Kabe Contemporary, Miami, Florida, USA.
- 2013: “14 juillet, le manifeste du coq flâneur et autres histoires…”, Galerie Karsten Greve, Paris, France.
- 2012: “Sublime Entropies”, Galerie Karsten Greve, Cologne, Germany.
- 2011: “Paradise: Real Time (stills)”, Kabe Contemporary, , curated by Julieta Gonzalez, ARCO, solo projects, Madrid, Spain.
- 2010: “Paradise: Real Time”, , curated by Jonathan Watkins, Ikon Gallery, Birmingham, UK.
Publications
- 2012: “Between Walls and Windows: Architecture and Ideology”, book edited by Valerie Smith, Paradise in the New World, Sergio Vega pp.65-7, text and images by Sergio Vega. Haus der Kulturen der Welt, Berlin. Published by Hatje Cantz, Germany, ISBN 978-3-7757-3474-5
- 2012: “The Storytellers, Narratives in International Contemporary Art”, book edited by Selene Wendt, Chapter eight: Sergio Vega, Paradise in the New World, text and images by Sergio Vega, pp.50-55. Published by Skira Editore, Milano, ISBN 978-88-572-1721-5
- 2011: “Ciels”, Nanni Balestrini and Sergio Vega, poet-artist book images by Sergio Vega, designed and published by Gervais Jassaud, Paris.
- 2011: “Paradise: Real Time”, book, introduction by Jonathan Watkins, essays and images by Sergio Vega, Ikon Gallery, Birmingham, UK December, 120 pages, ISBN 978-0-615-56381-7
- 2010: “Argentina in Focus: Visualizing the Concept” exhibition catalogue, essay by Alma Ruiz, Art Museum of the Americas, Organization of American States, Washington DC, 32 pages, December.
Collections
- MAR Museu de Arte do Rio de Janeiro, Brazil.
- Art Museum of the Americas, OEA. Washington DC, USA.
- Fondazione Biennale di Venezia, Italy.
- LWL-Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany.
- KIASMA, Museum of Contemporary Art, Helsinki, Finland.
Additional Links
- Sergio Vega, “Shanty Nucleus After Derrida 2”, 2011-13, Installation, Inkjet vinyl prints munted on syntra, Variable dimensions. KaBe Contemporary, Miami. Photo credit: Courtesy of the artist.
- Sergio Vega, “Shanty Nucleus After Derrida 2”, 2011-13, Installation, inkjet vinyl prints munted on syntra, Variable dimensions. KaBe Contemporary, Miami. Photo credit: Courtesy of the artist.
- Sergio Vega, “Shanty Nucleus After Derrida 1”, 2009, Installation, inkjet vinyl prints munted on syntra, Variable dimensions. Harn Museum of Art. Photo credit: Courtesy of the artist.
- Sergio Vega, “On the mimetic faculty” (front view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
- Sergio Vega, “On the mimetic faculty” (front side view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
- Sergio Vega, “On the mimetic faculty” (back side view), 2008, Mixed media installation, Variable dimensions. LWL Landesmuseum, Münster, Germany. Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK. Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK. Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK, Photo credit: Courtesy of the artist.
- Sergio Vega, “Paradise: Real time”, 2010, Video installation, 6 screens, 28 minutes, Variable dimensions. Ikon Gallery, Birmingham, UK, Photo credit: Courtesy of the artist.
- Sergio Vega, “Modernismo Tropical” (lounge), 2005, Multimedia Installation, Variable dimensions. Biennale di Venezia, Photo credit: Courtesy of the artist.
- Sergio Vega, “Across the Corpus Callosum”, 2005, Wall paint, taxidermy, color samples, Variable dimensions. Galerie Karsten Greve, Paris, Photo credit: Courtesy of the artist.
- Sergio Vega, “Parrot color chart #2B”, 2013, Serie: Parrot color chart, Inkjet print mounted on aluminum, 57 x 38 in., KaBe Contemporary, Miami, Photo credit: Courtesy of the artist.
- Sergio Vega, “Parrot color chart #7B”, 2013, Serie: Parrot color chart, Inkjet print mounted on aluminum, 35 x 32 in., KaBe Contemporary, Miami, Photo credit: Courtesy of the artist.
- Sergio Vega, “Parrot color chart #3”, 2013, Serie: Parrot color chart, Inkjet print mounted on aluminum, 57 x 38 in., KaBe Contemporary, Miami, Photo credit: Courtesy of the artist.
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
- Bard College, MFA, New York, USA.
- Empire State College, B.A., New York, USA.
- The Art Students League of New York, Fine Arts Painting, Four Year Certificate, New York, USA.
Prizes / Fellowships
- 2013: Residency and Stipend, The Clocktower, Art on Air.
- 2011: Emergency Grant, Foundation for Contemporary Arts.
- 2012: Residency and Stipend, Issue Project Room.
- 2006: Grant, New York State Council on The Arts, Electronic, Media, and Film Program.
- 2006: Residency, The Frank Lloyd Wright School of Architecture at Taliesin West.
Solo Exhibitions
- 2013: “Extraneous to the Message”, Julian Navarro Projects, LIC, NY, USA.
- 2012: “The Spacious Now and the Scale of the instantaneous”, Studio 10, Brooklyn, NY, USA.
- 2011: “Espacios No-Euclídeos”, EAC – Espacio De Arte Contemporáneo, Montevideo, Uruguay.
- 2010: “ELECTROCHROMA”, The Invisible Dog Art Center, Brooklyn, NY, USA.
- 2009: “SONOCHROME”, The Public Trust, Dallas, TX, USA.
- 2007: “Time Frame”, Gallery 415, San Francisco, CA, USA.
Group Exhibitions
- 2013: “Soundings: A Contemporary Score”, MoMA, New York, USA.
- 2012: “5X5 Real Unreal”, Museum of Art Acarigua-Araure, Portuguese, Venezuela.
- 2012: “Machine Surrender”, FIFI Projects, Mexico City, Mexico.
- 2010: “Never Can Say Goodbye: Former Tower Records Store”, NO LONGER EMPTY, NYC, USA.
- 2009: “LEER VOLL/Fully Empty”, Diapason Gallery, Brooklyn, NY, USA.
- 2008: “Possibilities of Action: The Life of a Score”, MACBA, Barcelona, Spain.
Links
- Arte Al Día International
- On Sound. Richard Garet in Conversation with Seth Cluett
- Going to MoMA to See the Sounds, The New York Times
- Richard Garet, “Activity”, 2013, Series: Edition 3+A/P, HD Moving Image, 60’16” / no audio / Video Still, Variable dimensions, Vertical HD Monitor. Image courtesy of the artist
- Richard Garet, “Esión – Nothing is Something”, 2013, Series: Edition 3+A/P, HD Moving Image, 15’23” / audio / Video Still, Variable dimensions, Horizontal HD Monitor or Projection. Site-speciic project. Image courtesy of the artist
- Richard Garet, “Four Horsemen”, 2013, Series: Edition 1+A/P, Four Channel HD Moving Image, Indeterminate Duration / no audio / Video Still, Variable dimensions, Four vertical HD Monitors. Image courtesy of the artist
- Richard Garet, “Untitled Series (Painting Semiotics)”, 2012, Series: Edition 3+A/P, Multimedia: 58 Slides, Slide Projector, Photosensitive Sensor, 2 Speakers, I-Pod / audio, Variable dimensions, Site-specific project. Image courtesy of the artist
- Richard Garet, “Perceptual – The Red in my Life”, 2012, Series: Edition 3+A/P, HD Moving Image, 38’15” / no audio / Video Still, Variable dimensions, Vertical HD Monitor. Image courtesy of the artist
- Richard Garet, “Perceptual – Rainbow Thief”, 2012, Series: Edition 3+A/P, HD Moving Image, 30’09” / no audio / Video Still, Variable dimensions, Vertical HD Monitor. Image courtesy of the artist
- Richard Garet, “Perceptual – Pouring Orange”, 2012, Series: Edition 3+A/P, HD Moving Image, 29’11” / no audio / Video Still. Image courtesy of the artist
- Richard Garet, “Glint #1″, 2012, Series: Edition 3+A/P, HD Moving Image, 44’00” / no audio / Video Still, Variable dimensions, Vertical HD Monitor. Image courtesy of the artist
- Richard Garet, “Retinal Frost”, 2011, Series: Edition 3+A/P, SD Moving Image, 29’55” / no audio / Video Still, Variable dimensions, Horizontal HD Monitor or projection. Image courtesy of the artist
- Richard Garet, “Image Blur”, 2011, Series: Edition 3+A/P, SD Moving Image, 35’34” / audio / Video Still. Image courtesy of the artist
- Richard Garet, “Electrochroma”, 2010, Series: Edition 3+A/P, SD Moving Image, 58’52” / 5.1 audio / Video Still, Variable dimensions, Horizontal HD Monitor or projection, Site-specific project. Image courtesy of the artist
- Richard Garet, “Areal”, 2010, Series: Edition 3+A/P, Multimedia: Fog Machine, Four Projectors, 4 Speakers with Quad Audio, Variable dimensions, Site-specific project. Image courtesy of the artist
- Richard Garet, “The Presence of Absence”, 2009, Series: Edition 3+A/P, SD Moving Image, 27’36” / audio / Video Still, Variable dimensions, Horizontal HD Monitor or projection. Site-specific project. Image courtesy of the artist
- Richard Garet, “Sonochrome”, 2009, Series: Edition 3+A/P, Multimedia: Projection Over Painted Wall or Panels / audio / Video Still, Variable dimensions, projection. Site-specific project. Image courtesy of the artist
- Richard Garet, “Organizing Noise”, 2007, Series: Edition 3+A/P, SD Moving Image, 15’59” / audio / Video Still, Variable dimensions, Horizontal HD Monitor or projection. Site-specific project. Image courtesy of the artist