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Jaret Vadera (b. 1976, Toronto) is an artist and cultural producer working between New York, Toronto, and India.〔 Accented, Catalog, Maraya Art Centre, 2015 〕 Vadera is of Indian and Filipino decent. His father was born in India and his mother in the Philippines.〔 DOUBLEBIND, Catalog, Kristen Evangelista, William Patterson University, University Galleries, 2014〕 〔New Poetics of Translation: An Interview with Jaret Vadera, Carla K. Stewart, Breach Magazine – Issue 1: Decolonial Aesthetics, June 2015〕 Through his work, Vadera explores how different social, technological, biological, and cognitive processes shape and control the ways that we see the world around and within us.〔 http://www.jaretvadera.com〕 Vadera works across media, primarily in the spaces where painting, photography, video installation, and new media intersect.〔Diaspora Art, Sharmistha Ray, MW Magazine India, August, 2009〕 He often takes "things" apart, and puts them back together in new ways: to reveal what is hidden in plain sight. Rorschach tests, algorithms, maps, infographics, and logic paradoxes are often redeployed to locate ambivalent in-between spaces, to reveal malignant meanings, and to explore the poetics of representation. Mixing metaphors, shifting historical and cultural references, and code switching are some of his key strategies. Perceptual thresholds are central to Jaret Vadera’s diverse constructions. His objects and the contexts in which they are presented provoke questions about how we represent and form meanings in “reading” texts and images that structure our experience and understandings of culture. Vadera seeks out the points at which these “given” sign systems break down, become permeable, porous or malleable, where glitches and short circuits upset our usual blasé consumption of images and data. Vadera materializes the ever-changing flux of empirical scientific data-as-evidence, of measurement that offers quantitative information but does not add up to any qualitative meaning of being in the world. By encountering Vadera’s accretions of objects and installations we learn that vision is filtered and fashioned with physiological, cognitive, linguistic and technological limitations.〔Feeling the Doublebind, Deborah Frizzell, Depart Magazine, Issue 17, 2014〕 In parallel to his career as an exhibiting artist, Vadera has also been active as an organizer, programmer, curator, researcher, writer, editor, educator, and designer on projects that focus on using art as a catalyst for social change / justice.〔http://dakshinachitra.net/dkc-fellowship.html〕 ==Education== In 1999, he graduated from the Ontario College of Art and Design, and participated in the Mobility Program in Fine Arts at the Cooper Union School of Art (New York, NY) the same year. He received his Master in Fine Arts in Painting and Printmaking from the Yale School of Art (New Haven, CT) in 2009.〔Younger Than Jesus / Artist Directory, The New Museum, NY. Phaidon Press, 2009〕〔http://momaps1.org/studio-visit/artist/jaret-vadera〕〔Art Review: Else, Holland Cotter, New York Times, September 24, 2010〕〔Everything All at Once / Catalog, Queens Biennial Vol. 3, Queens Museum of Art, 2006〕〔Fatal Love - South Asian American Art Today / Catalog, Queens Museum of Art, 2006〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jaret Vadera」の詳細全文を読む スポンサード リンク
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