NEWS

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On Sound. Richard Garet in Conversation with Seth Cluett

Sep 01st, 2013

 

Richard Garet is an interdisciplinary artist based in New York City who uses sound as a main resource in his artistic practice. Within Garet’s exhibiting projects one may encounter stand-alone objects, installations and multi-channel space interventions that invite observation on the conditions of sound and its reception into the processes of listening, immersion, communication, information noise and time. Furthermore, Garet utilizes these same approaches with time-based performances, and he has an extensive list of CD publications of what he refers to as “Sonic Constructions.”

This conversation is a continuation of an event that took place on March 30th, 2013, when Garet engaged in a discussion with sound artist and theorist Seth Cluett at Mandragoras Art Space | MAAS Talks,(www.mandragoras.org)1. In this conversation Garet and Cluett not only expand on key elements of sound artistic practice discussed during MAAS Talks, but also focused on Garet’s participation in “Soundings: A Contemporary Score” at The Museum of Modern Art2, and on his approaches to working with sound and the state of sound art in the art world today.

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MoMA’s “Soundings” exhibition: critiquing the critics

Aug 29th, 2013

 

Soundings” is MoMA’s first exhibition dedicated solely to “sound art”. It features installations by 16 contemporary artists working with sound – these include notables such as Susan Philipsz (Scotland), Stephen Vitiello (America), Richard Garet (Uruguay), Marco Fusinato (Australia).

Recent reviews for “Soundings” have revealed some interesting attitudes held by critics towards the discipline of “sound art”. As each review contains common reactions to the show some general conclusions can be drawn about the type of sound-art critics prefer:

1. Installations using recognisable sounds or familiar melodic structures are received favourably.

2. Installations that utilise abstracted or dissonant sounds are received unfavourably.

Installations featuring voice, strings, and field recordings fared well in the reviews, these sounds being melodic or familiar to the listener. Thus, for sound art to be “successful”, must the audience recognise the source of the sounding object, or do the reviews merely reflect a conservatism on the part of the critics? Either way, these are critical questions to ponder.

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Richard Garet en el Museo de Arte Moderno de Nueva York

Aug 29th, 2013

 

Multifacético creador experimental uruguayo se expresa en arte sonoro

Richard Garet artista uruguayo innovador trabaja en diversos tipos de proyectos entre ellos arte sonoro. Ha sido elegido entre 16 conspicuos creadores internacionales en la primera gran exposición de arte sonoro que ahora se lleva a cabo en el MoMA, Museo de Arte Moderno de Nueva York hasta setiembre bajo el título  “Soundings: A Contemporary Score”. Intervienen junto a él Luke Fowler (Escocia, 1978), Toshiya Tsunoda (Japón, 1964), Marco Fusinato (Australia, 1964), Florian Hecker (Alemania, 1975), Christine Sun Kim (Estados Unidos, 1980), Jacob Kirkegaard (Dinamarca, 1975), Haroon Mirza (Gran Bretaña, 1977), Carsten Nicolai (Alemania, 1965), Camille Norment (Estados Unidos, 1970), Tristan Perich (Estados Unidos, 1982), Susan Philipsz (Escocia, 1965), Sergei Tcherepnin (Estados Unidos, 1981), Hong-Kai Wang (Taiwán, 1971), Jana Winderen (Noruega,  1965), y Stephen Vitiello (Estados Unidos, 1964). Es el único latinoamericano presente en esta exhibición. Para ver y oir estas obras hay dirigirse al sitio de MoMA donde están visibles y audibles.

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Richard Garet

Aug 12th, 2013

Julian Navarro Projects Long Island City, New York

Entre el 2 de marzo y el 13 de abril, Julián Navarro presentó la muestra “Richard Garet: Extraneous to the Message” en el Mandragoras Art Space en Long Island City, NY.

Garet es un artista multidisciplinario que comenzó a trabajar con sonido hace veinticinco años, aunque ha estado creando arte sonoro de forma más sistemática desde 1998. El arte sonoro o arte sónico se expandió como forma de arte a partir de la década de 1990, si bien sus comienzos datan de principios del siglo XX, y es significativo que el Museo de Arte Moderno de Nueva York realizará este verano su primera exposición de arte sonoro, “Soundings: a Contemporary Score”, en la que participará Garet. El título de la muestra hace referencia al ruido de fondo que se ha enraizado en los medios de comunicación masiva y se encuentra siempre presente en nuestra vida cotidiana; a los ruidos contaminantes que son superfluos para nuestra vida objetiva que entraña un propósito, y que interfieren con la comunicación, la música o el “silencio”. En 1998, Jean-François Lyotard declaró en una entrevista de prensa realizada en Caracas, Venezuela, que se podría definir a la posmodernidad como la pérdida del silencio. ¿Cómo puede definirse esta pérdida? Seguramente involucra la saturación visual, mental y sonora que se produce en la metrópolis y en la cultura urbana y suburbana, diseminándose por el mundo hasta alcanzar los lugares más remotos, como la selva amazónica en Brasil, donde pudieran llegar las transmisiones radiales y la Internet.

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SOUNDINGS EXHIBIT REVIEW 2

Aug 08th, 2013

A child looks at Richard Garet’s “Before Me” work at the “Soundings: A Contemporary Score” exhibition at the Museum of Modern Art in New York, Aug. 5, 2013. The new exhibition is a survey of sculpture, film, installation and work on paper with audio components. (Suzanne DeChillo/The New York Times) – XNYT117

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Cuerpo en disolvencia, proyecto curatorial de Emilio Tarazona

Jun 20th, 2013

 

CUERPO EN DISOLVENCIA
FLUJOS, SECRECIONES, RESIDUOS / ARTE COLOMBIANO CONTEMPORÁNEO

Los trabajos reunidos en esta exhibición proponen una línea de lectura del arte colombiano de las últimas décadas. Aquí la noción de flujo afecta, transgrede o interpela a la noción de cuerpo, que se desplaza así desde la presencia y solidez con las que usualmente se coagula la consistencia material del ser humano hasta otro terreno, más difuso, dominado por la fluctuación, la inestabilidad y la impermanencia.

Esta noción de flujo (e incluso de volatilidad) es en sí extremadamente dúctil: puede emplearse para describir las formas de la «nueva economía» en el auge actual de los mercados financieros; o los flujos de las comunicaciones e informáticos que hoy se conducen (o se filtran) con o sin cables; o los flujos de materia y energía que bien atraviesan uno cadena trófica o participan de un ciclo de intercambios entre atmósfera, biomasa y corrientes acuáticas en el precario dispositivo ecológico del planeta. Tal noción de flujo abarca incluso los enormes desplazamientos de migrantes, refugiados y exiliados, producto de las dinámicas sociales en las múltiples comunidades de un mundo en drástico conflicto y reconfiguración.

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GUERRA DE LA PAZ – JULIÁN NAVARRO

Jun 19th, 2013

MAAS | 36-01 36AVE, Long Island City, NY 11106

Julian Navarro Projects presenta “Power Ties”, the first com- prehensive exhibition of this series of Guerra de la Paz’s work that spans the past seven years of art-making. The artist duo, Alain Guerra and Neraldo de la Paz, are known for their sprawling installations using layers of multicolored found clothing. In contrast, “Power Ties” is an elegant and provoca- tive exhibition of six spacious works that thoughtfully traverse three rooms of the sublime Mandragoras Art Space in Long Island City, New York.

On entering the main gallery a black suited businesswoman, “Red Carpet Keeper,” has five snakes for a head and is about to begin her procession down the red carpet. The carpet leads toward “Puppeteer”, a dark figure with a wide authoritative stance standing atop a soapbox with two suited hand puppets— his spokespeople— whose miniature bodies have stuffed animal heads of an elephant and a donkey. Both of these artworks are performances offering a biting critique of politics in corporate America by presenting it at face value or perhaps revealing its truth. Rounding an ominous corner, “Sealing the Deal” is a sit- uational drama. Two life-size headless figures dressed in drab and generic business suits shake hands as if putting in to action a secret agreement—the nature of which can only surmised by their ties that are raised, mimicking venomous snakes with forked tongues touching. The exhibition title “Power Ties” becomes increasingly layered with innuendo.

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MARÍA EVELIA MARMOLEJO

Jun 18th, 2013

MAAS | 36-01 36AVE, Long Island City, NY 11106

An acrid smell hangs thickly in the air of the Mandragoras Art Space where the crowd sips on red wine in anticipation of legendary Colombian performance artist María Evelia Marmolejo. Revered for defying the conventions of 1980’s artistic practices by determinedly implicating her physicality, Marmolejo’s provocations have come to be characterized as political, radical and feminist.

May 1st 1981 – February 1st, 2013 is all three of these but is delivered with a subtle sophistication of a seasoned artist. In the center of the first room a square of salted cow intestines hang from the ceiling. Marmolejo enters in a modest white dress and approaches a bandage lying on the floor next to a curled dried intestine. Standing in front of a large rectangular mirror she places the ends of the bandage and the intestine in her mouth and begins to twist them to make a rope, appearing as a nurse binding the wounds of past carnage. She enters the second room, where the reek of fresh hanging cow intestines is grossly unsettling. This is unarguably the present. She inspects, circles and pokes her toe at edges of the gooey guts as if searching for life, and runs her hand down the long shimmer- ing cords of innards that irreparably stain her dress. Repeating the action, she twists the bandage and fresh intestine into a skipping rope and begins to skip. The action recalls child- hood, but as the innards “thwack” the cement floor it serves as a reminder of enduring hardship. The war persists today.

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CHERYL POPE – INVOLUNTARY ACTS

Jun 17th, 2013

MAAS | 36-01 36AVE, Long Island City, NY 11106

Ranging from durational performances to political role-play, and from conceptual reenactments to experimental narratives, this program highlights the diverse approaches to performance found in current film and video practices, while showcasing the work of emerging Chicago-based artists and filmmakers.
Organized by: Michael Green.
Image: Cheryl Pope, Up Against, 2010. HD Video. 10 min.
Photo: James Prinz Photography.