News
Palopó: Sylvia Tennenbaum's new exhibition at Museo Ixchel del Traje Indígena, Guatemala.
Publications
Richard Garet's interview with VoyageMIA
My materials emerge from ontological investigations of background noise and the decadence and decay of technological utilities. I seek to invert the normative function of background noise from unconscious status to active presence. The images and objects in my work stem from processes and experimentations applied to both outmoded and current technological media that emulate situations that translate material sources into abstractions.
Richard Garet: "Beyond the Sounds of Silence"
Latin-American Artists Connecting Art, Sound, and Society, an exhibition project conceived by Aluna Curatorial Collective for the Lowe Art Museum of The University of Miami.
Lowe Art Museum, Miami, Florida.
“Beyond the Sounds of Silence” brings together the following invited artists (by alphabetic order): Muu Blanco (Venezuela), Tatiana Blass (Brazil), Vivian Caccuri (Brazil), Tania Candiani (Mexico), Sonia Falcone (Bolivia), Magdalena Fernández (Venezuela), Richard Garet (Uruguay), María Elena González (Cuba/USA), Iván Grillo (Brazil), Glenda León (Cuba), Gustavo Matamoros (Venezuela), Yucef Merhi (Venezuela), Cecilia Paredes (Peru), Rolando Peña (Venezuela), Enrique Ramírez (Chile), Manuel Rocha Iturbide (Mexico), Alba Triana (Colombia), Nicolás Varchausky (Argentina), and Antonio Vega Macotela (Mexico). Born between 1943 and 1986, the nineteen artists featured in this immersive exhibition are heirs to John Cage's seminal 4’ 33", the iconic American composer’s work that captures “four minutes and thirty-three seconds of silence,” or, more accurately, ambient noise during that same arc of time. Hailing from ten different countries across Latin America and the Caribbean, these practitioners embrace cultural “anthropophagy,” or cannibalism—a term coined by the Brazilian poet and critic Oswald de Andrade (1890-1954) to refer to the appropriation of practices associated with the Global North by those in the South, who transform them into powerful creations of their own. In doing so, they produce a level of attentiveness that allows for a different way of hearing (or seeing) the sounds that surround us. They also explore how this “music of reality” influences and transforms our interactions with the world. Their works blur the line separating impersonal technologies from the poetics of 21st-century artistic practice and embrace the web of life that holds art, sound, and society in tension. This exhibition invites visitors to enjoy a broad range of sensory interactions and perceptual experiences, which, together, create a conceptual “concert” that enriches the polyphony of contemporary art. Like Uruguayan artist Joaquín Torres García’s América Invertida (1943), it also positions Latin American art beyond the sounds of silence. Aluna Art Foundation.
Institutional Collaborations
Advisor for the Museum of Central American Art
Advisor for the Museum Of Latin American Art
Auctioneer for the Los Angeles Contemporary Art Center (LACE) and the
Museum Of Latin American Art
Advisor for the Museum of Central American Art