Richard Garet creates a luminous-red idiosyncratic environment where visitors are invited to inhabit and listen to RED- Splice; an octophonic composition dedicated to enhance the nuances of sound in space and the activations of body and mind while immersed in red light.
LOCATION: Building 10a, Nolan Park, Governors island
INSTALLATION: Weekends from Saturday, September 14th to Sunday, October 27th 2019 Time: 11 am – 5 pm
SPECIAL PERFORMANCE : October 6th, 2019 — Patterns in the Mist; Live Octophonic @ 4pm
Garet’s model is the background noise that surrounds him and his motives seek to invert the normative function of this background noise from unconscious status to active presence. Garet’s sonic constructions evolve from explorations of sound within studio practice onto reaching conclusion once presented in physical space. These developments establish not only the artist’s interest for listening and affect, but also the awareness of sound in space.
Garet creates an 8 channel audio spatialization where visitors are welcomed to stay in place or move around and redirect their own listening experience as they shift their positioning within the area. The work puts special attention on focal sound and on selective listening based on the discrete or panned applications of the sound in relationship to listening and to space. This work in addition to emphasizing focused listening is inspired on the sonic-debris that comes from all directions and sources reaching one’s ears from the personal space to wherever one might be at any time. These situations trigger a responsive mechanism that determines how we listen, what the listener cancels out or focuses on, and also it establishes a discrete sonic relationship based on what we select to focus our listening attention to as a message. The materials for this work ranges from sounds established from information noise, electromagnetic waves, modified tape, cracked media, electrical explorations, and field recordings. The sounds in this piece were both recorded-and-made from specific materials as crucial instruments, while also, treating, filtering, interpreting, and tailoring each approach in the artist’s studio taking in consideration detail, durational journey, spatial listening and the nuances of sound activating space and reception.
Patterns in the Mist; Live Octophonic (Performance)
Date: Sunday October 6, 2019 @ 4 pm
Richard Garet’s approaches to working with sound live focus on creating manual and generative processes that interact and activate various sonic materials while also giving attention to the directness of momentary decisions, connecting with the audience, and the significance of space as instrument. Garet’s preparations for each presentation are distinct and evolve from studio practice to establish and explore materiality, approach, and a set of possibilities to then articulate the nuances of listening in a dedicated space.
Richard Garet holds an MFA from Bard College, NY. Recent projects include Primitivo, Casa Hoffman, Bogota, Colombia; The Festival of the Image, Manizales, Colombia; CIFO Grants & Commissions Program Exhibition 2017, Florida, USA; RED-Splice, Fridman Gallery, NYC; SOUND ONE, Cindy Rucker, NYC; Periscope, Zipper Gallery, Sao Paulo, Brazil; Screen Memory, Galerie Burster, Berlin; Midnight Moment, site specific work created for the electronic billboards of Times Square, NY; Alusiones, Carmen Araujo Arte, Hacienda de la Trinidad, Caracas, Venezuela; Meta-residue: Input Material, Space, Studio 10, NY; Theorem: You Simply Destroy the Image I Always Had of Myself, Maná Contemporary, NJ; Adrenalina, Red Bull Station, Sau Paulo, Brazil; International Biennial of Contemporary Art of Cartagena de Indias, Cartagena, Colombia; Bioderivas, Museo de la Naturaleza y el Hombre, Tenerife, Spain; Queens International, Queens Museum of Art, Queens, New York; Soundings: a Contemporary Score, Museum of Modern Art, New York; Extraneous to the Message, Julian Navarro Projects, NY; The Spacious Now and the Scale of the Instantaneous, Studio 10, NY; 5×5 Real Unreal, Museum of Art Acarigua-Araure, Venezuela; EAC: Espacio de Arte Contemporáneo, Montevideo, Uruguay; Fine Arts Museum of Montreal; San Francisco Museum of Modern Art; Museum of Contemporary Art of Barcelona (MACBA), Barcelona, Spain; Art Museum of Puerto Rico, San Juan, Puerto Rico; and El Museo del Barrio, NYC. His sonic constructions have been published through sound art labels such as 23five, And-Oar, Non Visual Objects, Winds Measure Recordings, Unframed Recordings, Con-V, Leerraum, White_Line Editions, OBS, Line Imprint, and Contour Editions.
“…The movement is slow. Sometimes it’s fluid and effortless (hot waste air billowing out of a ventilation shaft), sometimes it’s loaded with pressure and stress (high frequencies dangled like chandeliers from solitary hairs). Garet tilts beautifully between states, and Meta transforms so elegantly that I find my muscles crunching nervously without even thinking about it. Solid blocks of bass frequency evaporate into floating feedback, while aircraft hangar reverberations curdle into clumps of white noise; the flux never ceases, and even as I find myself confronting the sounds that circumvent the centre of attention, they remain transient and unknowable, slipping through my fingers and dripping out the backs of my ears.”Review by ATTN:Magazine, UK
“After all this twittering, something out of House of Leaves happens – a vastness opens up, where no vastness should be. Like coming round the bend on a hike and chancing upon a secret waterfall in the distance, or standing alone in a long, concrete underpass in the rain. Garet makes something grand and orchestral out of it, as it dilates wider and wider. The vastness morphs into a city subway, our ears floating from platform to track and up to the curved ceiling. A pleasant cacophony is achieved, “achieved” being the operative word, since it brings more attention to the possibilities of the manipulation of quotidian sound than their humdrum existence itself – to the efforts of the artist, in other words. As it recedes, we are treated to the gentle waterfall again. Unless it is an eddy of third-rail static.”Review on META by Stephen Fruitman
“….Blank Tape Positive is a borderless listen, the device has been turned inside out and yet it includes its functional histories as scree, positing the illusion that its systems find and mash the correspondingly coded memory within the listener. Its beauty comes from recognition and ownership, as if its sound is a long-lost friend laced with the lines of indiscretion that relate to an unknown intimacy, despite recognition. The sound is spliced into two sections simply titled Blank Tape Positive 1 and Blank Tape Positive 2, the sounds themselves separated by a short silence and a change in pitch and tone, also with an aggression in part 2 that brought a blush to my cheek. These detours act as a screen that diverts listening toward the musicians outstretched hand. To properly listen, this path should be resisted (I decided), and the search for an entrance to the sound, less to the musicians liking might be more collaborative, but Garet’s offer is very tempting and this particular listener found herself falling into his offered beauty with a circular regularity.Review on Blank Tape Positive by Lisa Thatcher
My review has been rewritten several times, and is late according to the calendar. Blank Tape Positive was released by Contour Editions in October 2013. However, in my defense, I’ll add that I found this music to be abyssal, and it took many searches to come up with something that barely scratches at the surface of the beauty I felt while I listened to Richard Garet’s offerings.”