Colorfield Variations
curated by Richard Chartier (US)
Belgian Première
Colorfield Variations is a collection of audiovisual works reinterpreting the Color Field movement by an international array of critically acclaimed sound and new media artists, including new works especially created for this program. Color Field painting, an abstract style that emerged in the 1950s following Abstract Expressionism, is characterized by canvases painted primarily with stripes, washes and fields of vibrant solid color, avoiding superfluous rhetoric. Think of Barnett Newman’s painting ‘Who’s afraid of Red, Yellow and Blue?’ with its almost physical effect.
Screening programme–
dark over light earth - Steve Roden (US),
CF01 - Alan (US),
looping i-vi (excerpt) - Frank Bretschneider (DE),
Orange was the color of her dress - Stephan Mathieu(DE),
AMP_SWELL - Sue Costabile (US) + Beequeen (NL),
Chronomops - Tina Frank + General Magic (AT),
FDBCK/AV– Silver - Bas van Koolwijk (NL),
Chronomanic Redux - Chris Carter + Cosey Fanni Tutti (UK),
Scorch - Ryoichi Kurokawa (JP),
Ten Thousand Peacock Feathers in Foaming Acid - E. Domnitch + D. Gelfand (RU/US),
Broadway One (excerpt) - Ernest Edmonds (AU) + Mark Fell (UK)
About Richard Chartier – curator–
Richard Chartier, sound/installation artist and graphic designer, has created critically acclaimed recordings for labels such as 12k/LINE (USA), Trente Oiseaux (Germany), Spekk (Japan), Mutek_rec (Canada), DSP (Italy), and ERS (NL), and Fallt (Ireland), including collaborations with artists Taylor Deupree, William Basinski, COH, and *0 and has appeared on numerous international compilations. His digital minimalist work explores the inter-relationships between the spatial nature of sound, silence, focus, and the act of listening.
Chartier’s sound works and sound installations have been presented internationally including at the exhibits Sounding Spaces at ICC(Tokyo, Japan), I Moderni / Moderns at Castello di Rivoli (Torino, Italy), 2002 Biennial at the Whitney Museum of American Art (NY), Resynthesis at Institute of Chicago and with the travelling sound exhibit Invisible Cities created by digital media curators Fehler as well as solo and collaborative installations for Fusebox (DC), 1515 Arts/G Fine (DC), Die Schachtel (Milan, Italy), and Diapason (NY). He has performed his work live across Europe, Japan, Australia, and North America at MUTEK (Montreal, GRM/Maison de Radio France (Paris, France), Observatori (Valencia, Spain), DEAF (Dublin, Ireland), Transmediale (Berlin, Germany), Lovebytes (Sheffield, UK), Leeds International Film Festival (Leeds,Rotterdam International Film Festival (NE), Garage (Stralsund, Germany), La Batie (Geneva, switzerland), and other noted digital art/music festivals and at exhibits such as Frequenzen [Hz] at the Schirn Kunsthalle (Frankfurt) and A Minimal Future? Art as Object 1958-1968 and Visual Music at the Museum of Contemporary (Los Angeles).
In 2000 he formed the recording label LINE In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism. premiere release on LINE, Chartier1s Series as awarded Honorable Mention in the category of Digital Music by the prestigious Prix Ars Electronica, 2001 (Austria). In 2006 he was commissioned by the Hirshhorn Museum and Sculpture Garden to create a collaborative sound performance work in conjunction with the Hiroshi Sugimoto retrospective exhibit. This work, entitled Specification.Fifteen, was recently awarded one of five Honorable Mentions for outstanding contemporary artistic positions in digital media art by the Jury of Transmediale.07 Award Competition (Germany) and exhibited as a recording and presented as a live performance with a new video work created from Sugimoto’s Seascapes at the Akademie der Kuenste (Berlin). Chartier’s installation work is represented by G FINE ART(DC).