Career
Chartier's sound works and sound installations have been included in the exhibits Sounding Spaces at ICC (Tokyo, Japan), I Moderni / The Moderns at Castello di Rivoli (Torino, Italy), 2002 Biennial at the Whitney Museum of American Art in New York, Resynthesis at the Art Institute of Chicago and with the traveling sound exhibit Invisible Cities created by digital media curators Fehler as well as solo and collaborative installations for Fusebox (DC), 1515 Arts/G Fine Art (DC), Die Schachtel (Milan, Italy), and Diapason (New York). He has performed his work live across Europe, Japan, Australia, and North America at MUTEK (Montreal, Canada), GRM/Maison de Radio France (Paris, France), Observatori (Valencia, Spain), DEAF (Dublin, Ireland), Transmediale (Berlin, Germany), Lovebytes (Sheffield, UK), the Leeds International Film Festival (Leeds, UK), the Rotterdam International Film Festival (NE), Garage (Stralsund, Germany), La Batie (Geneva, Switzerland), and other 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 Art (Los Angeles).
In 2000 he formed the recording label LINE, which releases compositional and installation work by sound artists and composers working with contemporary and digital minimalism, including Bernhard Gunter, Steve Roden, Taylor Deupree, Christopher Willits, Roel Meelkop, Carsten Nicolai/Alva Noto, Asmus Tietchens, Mark Fell and the first full-length CDs by Miki Yui, Skoltz_Kolgen, and Steinbruchel. The first release on LINE, Chartier's Series, was awarded Honorable Mention in the category of Digital Music by the 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 awarded one of five Honorable Mentions for outstanding contemporary artistic positions in digital media art by the jury of the Transmediale.07 Award Competition in 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).
In 2009, Richard Chartier presented a collaborative installation with visual artist Linn Meyers. Untitled, exhibited at the Art Gallery of University of Maryland (US) two 15-foot-long (4.6 m) by 8-foot-high (2.4 m) walls meet in an enfolding chevron, creating both a sound chamber and a drawing surface. The swirling lines of Meyers' drawing were drawn directly on the surface of the walls, accompanied by a sound piece by Chartier. With eight audio transducers applied directly to the back surface of the walls, Chartier's composition modulates and transfers through the surfaces. Untitled(Angle.1), a stereo composition based on Untitled was released on Non Visual Objects (Austria) as a limited edition CD.
In March 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to study the National Museum of American History's collection of 19th Century acoustic apparatus for scientific demonstration. Chartier will focus specifically on the many sirens, waveforms, and other inventions of the German physicist Rudolf Koenig including the Grand Tonometer (c. 1870–1875), the only instrument of its kind in existence.
Since 1998, Chartier has created recordings for labels such as LINE (USA), Raster-Noton (Germany), Die Stadt (Germany), Spekk (Japan), 12k (US) Mutek rec (Canada), DSP (Italy), ERS (Netherlands), Trente Oiseaux (Germany), Fallt (Ireland), Intransitive (USA), and collaborated with artists Taylor Deupree, William Basinski, CoH, Kim Cascone, and Asmus Tietchens.
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