Subtropics: Audible Fields at Deering Estate

The Deering Estate presents Subtropics: Audible Fields at Deering Estate

A series of immersive listening experiences curated by Gustavo Matamoros

MIAMI, FL — Deering Estate and Subtropics present Subtropics: Audible Fields at Deering Estate, a five-episode series of immersive listening experiences curated by composer and intermedia artist Gustavo Matamoros. Taking place on select Sundays at 4:00 PM, the series brings together experimental music, moving image, radio art, and spatial sound practices in a sequence of programs that foreground listening as an active, perceptual experience.

Across the series, sound, image, gesture, and environment converge within multichannel audio, expanded cinema, and durational performance. Audiences are invited to engage listening not only as hearing, but as a spatial mode of attention shaped by movement, resonance, and proximity.

All events take place in the Deering Estate Theater, recently enhanced with updated projection, lighting, and surround sound capabilities. The theater serves as a cultural resource for the community, presenting a wide range of programs that include music, dance, film, and educational initiatives aligned with Deering Estate’s mission.

Tickets & Information:

All events take place on
selected Sundays at 4:00 PM
All events are free with RSVP on Eventbrite
All programs subject to change without notice

Deering Estate Theater
7220 SW 168th Street,
Palmetto Bay, FL 33157

SUBTROPICS: AUDIBLE FIELDS — SCHEDULE AT A GLANCE

Sunday, July 26, 2026 | RSVP

Silent Film / Sightless Radio: Unfinished Visions

A program of expanded cinema and radio art exploring fragmentation, montage, and transmission across time. The program features a multiscreen presentation of film materials associated with Sergei Eisenstein’s ¡Que Viva México! Also included is If Everyone Waits by Gregory Whitehead, a radio art composition for voice, instruments, radio noise, and very low frequency transmissions. More info about Episode 1 …

Sunday, August 2, 2026 | RSVP

Listening Club: Sound in Space

The Listening Club, created by Gustavo Matamoros, makes its Deering Estate debut with an episode dedicated to spatial listening. This program focuses on quadraphonic, surround, ambisonic, and other multichannel media formats drawn from the Subtropics Digital Archive and Collection. Featured artists include Miami-based Juraj Kojs; pioneers David Tudor and Russell Frehling; Frozen Music; and Olivia Block, winner of the 2026 Foundation of Contemporary Arts Alvin Lucier award. More info about Episode 2 …

Sunday, August 16, 2026 | RSVP

jamJamStrawberry: Strawberry Sweets

An immersive, durational performance by the experimental collective jamJam Strawberry, featuring Sony Mao and Emile Milgrim with the original dropbox contributor Øivind Idsø and Tokyo-based, sound artist and singer Moskitoo (a.k.a. Sanae Yamasaki) and media support by Barron Sherer and Freddy Jouwayed. More info about Episode 3 …

Sunday, September 13, 2026 | RSVP (note: new date)

The Music of Julio Roloff

A rare presentation of works by Miami-based composer Julio Roloff, featuring acoustic, electroacoustic, and computer music performed by guest musicians.
. More info about Episode 5 …

Sunday, September 27, 2026 | RSVP (note: new date)

Audible Systems: Held / Garet + Matamoros

A program of intermedia works exploring sound, image, and perception as interconnected systems. The program includes two intermedia works, Nine Movements (2024) by Barbara Held and Richard Garet, and Tone Poem in Surround (2025) by Gustavo Matamoros. More info about Episode 4 …

SUBTROPICS: AUDIBLE FIELDS — ABOUT THE ARTISTS-IN-RESIDENCE

Gustavo Matamoros is a Miami-based intermedia artist, composer, and curator working in experimental music, sound installation, and interdisciplinary performance. Born in Caracas, Venezuela, he has been active in South Florida since 1979 and is the founding artistic director of the Subtropics Festival. His work explores listening as a spatial and perceptual practice through immersive and site-responsive environments. He is currently in residence at Florida International University’s i360 XR Theater and at Deering Estate Theater, supported by a Knight Arts Challenge award.

Freddy Jouwayed is a Miami-based multimedia artist and exhibition designer and a resident artist at Deering Estate. His practice spans projection environments, multimedia installation, and exhibition design. For this series, he develops the multiscreen realization of ¡Que Viva México! materials and contributes visual projection and spatial image design across the programs.

Barron Sherer A Miami-based visual artist, Barron Sherer works across moving image, projection, and immersive media. His practice explores light, abstraction, and perceptual experience through layered visual systems that respond to sound and spatial context. Drawing from both analog and digital processes, he creates dynamic visual environments that emphasize transformation, rhythm, and texture. For Subtropics: Audible Fields at Deering Estate, Sherer contributes live visual elements for Strawberry Sweets, in collaboration with Freddy Jouwayed.

SUBTROPICS: AUDIBLE FIELDS — ABOUT THE PARTICIPATING ORGANIZATIONS

Subtropics is a Miami-based platform dedicated to experimental music and sound art, presenting concerts, installations, and interdisciplinary projects that explore new approaches to listening and sonic experience.

Frozen Music is a Miami-based experimental music collective dedicated to improvisation, sound exploration, and the presentation of alternative listening environments.

jamJamStrawberry is an experimental collaboration originating in early network-based music exchange between Sony Mao and Sawako. Known for its hybrid of granular synthesis, glitch aesthetics, and distributed collaboration, the project continues as a live and evolving performance platform integrating additional collaborators and expanded instrumentation.

Subtropics Cultural Arts Programming at the Deering Estate is made possible with the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners, and The Deering Estate Foundation, Inc.

# # #

SUBTROPICS: AUDIBLE FIELDS — SERIES PROGRAM DETAILS
(what we know)

Sunday, July 26, 2026 | RSVP

Audible Fields Episode 1:
Silent Film / Sightless Radio: Unfinished Visions
A program of expanded cinema and radio art exploring fragmentation, montage, and transmission across time.

The program features a multiscreen presentation of film materials associated with Sergei Eisenstein’s ¡Que Viva México!, reconfigured from surviving fragments and related documentary materials. Presented as a composite visual field, these elements form an evolving constellation of images shaped by historical displacement and reinterpretation.

The multiscreen realization of these materials, along with additional projection design and visual treatments across the series, is developed in collaboration with Deering Estate resident artist Freddy Jouwayed, whose work translates archival film into an immersive spatial environment responsive to the theater’s architecture and technical systems.

The restoration and reconstruction of the ¡Que Viva México! materials were undertaken by film historian and archivist Bruce Posner, who worked extensively in Miami for many years. His work has been central to the preservation and renewed presentation of experimental and avant-garde cinema, enabling new ways of engaging Eisenstein’s unfinished project.

Also included is If Everyone Waits by Gregory Whitehead, a radio art composition for voice, instruments, radio noise, and very low frequency transmissions (11:11). The work draws on text adapted from a historical 1942 leaflet, unfolding as a layered acoustic environment shaped by speech, signal, and interruption. Through shifts between continuity and rupture, the piece explores voice as both carrier of meaning and material presence.

PROGRAM

¡Que Viva México! a newly restored version of the film by Sergei Eisenstein presented as a silent film in a multiscreen realization by Freddy Jouwayed
If Everyone Waits by Gregory Whitehead, a radio [theater of the mind] piece presented as an acousmatic experience

ABOUT THE WORKS AND THE ARTISTS

Three stills from ¡Que Viva México!

¡Que Viva México!

Sergei Eisenstein’s ¡Que Viva México! is an unfinished cinematic masterpiece that traces the cultural and historical evolution of Mexico through a series of visually distinct episodes spanning pre-Columbian civilization to the Mexican Revolution. Reconstructed by film historian Bruce Posner from surviving footage, production records, stills, and Eisenstein’s notes, this restoration offers the closest approximation yet of the director’s intended structure and rhythm. Rather than a conventional narrative, the film unfolds as a poetic cycle exploring indigenous traditions, colonial oppression, religious ritual, labor, festivity, sacrifice, and revolutionary struggle. Monumental landscapes, expressive faces, and meticulously composed images reveal Eisenstein’s fascination with Mexico’s enduring dialogue between ancient cultures and modern identity. Posner’s restoration emphasizes the film’s original montage design and episodic architecture, allowing audiences to experience ¡Que Viva México!not as a historical curiosity but as a visionary meditation on life, death, resilience, and the collective spirit of a nation.

Sergei Eisenstein (1898–1948) was a pioneering Soviet filmmaker and theorist whose work fundamentally shaped the language of cinema. Renowned for his development of montage as a compositional and expressive technique, his films—including Battleship Potemkin and Ivan the Terrible—redefined cinematic form through dynamic editing and visual structure. His unfinished project ¡Que Viva México! remains one of the most significant and influential works in the history of experimental and documentary cinema.

Bruce Posner is a film historian, archivist, and curator specializing in avant-garde and experimental cinema. He is widely recognized for his work in the preservation, restoration, and reintroduction of historically significant non-narrative film. Posner played a key role in the reconstruction of Sergei Eisenstein’s ¡Que Viva México! and lived in Miami for many years, contributing to the city’s experimental film culture.

If Everyone Waits

A piece by Gregory Whitehead using vocals, assorted musical instruments, radio crackle & VLF castaways (11:09). Created in memory of the White Rose anti—Nazi resistance using sentences and phrases from their first leaflet, distributed in June 1942.

“If everyone waits till someone else makes a start, the messengers of the avenging nemesis will draw incessantly closer.”

Dedicated to the memory of Sophie Scholl,Hans Scholl & Christoph Probst, executed by guillotine on February 22, 1943.

Gregory Whitehead is an award-winning radio artist, audio artist, and text-sound poet whose work has been broadcast internationally on outlets including the BBC, Radio France, Deutschlandradio, ABC Australia, and NPR. A central figure in the resurgence of radio art since the 1980s, his practice explores voice, transmission, and the poetics of broadcast media. His work often navigates the tension between continuity and rupture, as well as the material instability of language and sound.

Sunday, August 2, 2026 | RSVP

Audible Fields Episode 2:
Listening Club: Sound in Space

Listening Club, created by Gustavo Matamoros, makes its Deering Estate debut with an episode dedicated to spatial listening.

Developed as an ongoing series of curated listening experiences in Miami, the Listening Club invites audiences into focused encounters with sound, experimental music and sound art. Through guided listening and shared discussion, each session explores how sound is shaped by movement, placement, and environment.

This program formats of recorded sound from mono, stereo, quadraphonic, surround, and ambisonics, to multichannel works drawn from the Subtropics Digital Archive and Collection. Featured artists include Olivia Block, David Tudor, Russell Frehling, Frozen Music, and Miami-based composer Juraj Kojs, who is celebrating 25 years of music making in Miami.

String Solo, drawing by Ralph Provisero

PROGRAM

Among many examples of recorded formats throughout the history of audio recording, the program will feature excerpts and full versions of the following works in quadraphonic and surround formats specially tuned to the Deering Estate Theater’s new sound system:

Dissolution B 2016 Glistening Examples [excerpt] by Olivia Block, a Subtropics sound art collection quadraphonic version of the work as performed by the composer during the Subtropics 24 Festival in 2017
Soundfield [excerpt] by Russell Frehling, a Subtropics sound art collection quadraphonic version of the original eight channel piece created for the exhibition SOUND, curated by Gustavo Matamoros at The Bass Museum of Art and presented as part of Subtropics 20 in 2009
FM: Summer [excerpt] by Frozen Music, another Subtropics sound art collection quadraphonic version of the original performance by Frozen Music featuring Gustavo Matamoros, David Dunn (remotely), and Rene Barge at Collins Park in 2021.
Neural Network Plus [excerpt] by David Tudor, an excerpt of our archival stereo recording by Russell Frehling of the quadraphonic live performance by the David Tudor during the 1993 Subtropics 5 Festival.
String Solo [excerpt] by Gustavo Matamoros, the quadraphonic version of the eight channel piece originally presented as part of Audiotheque 2.0 in 2018.
Gutter Music by Juraj Kojs, who celebrates 25 years of music making in Miami. This is the world premiere live performance of his four-channel electronic composition created from recordings of five gutters in the composer’s garden, gathered over the course of a year. The work explores the rhythms, resonances, and shifting textures of channeled rainwater, transforming an everyday sound into an immersive musical landscape.

Other short audio samples will be included in order to demonstrate the evolution of spatial sound throughout the history of recorded music.

ABOUT THE ARTISTS REPRESENTED

René Barge is a composer, sound artist, and instrument designer whose work explores the expressive possibilities of custom-built electronic and electroacoustic systems. As a member of the Frozen Music ensemble, he collaborates in creating extended-duration performances that reshape the sonic character of architectural and natural environments through live sound generation and amplification.

Olivia Block is a composer and sound artist whose work explores psychoacoustics, resonance, and site-specific listening. Her compositions often engage field recordings, electronic processing, and architectural space. She is a recipient of the Foundation for Contemporary Arts’ Alvin Lucier Award.

David Dunn is a composer, sound artist, and pioneering researcher whose work bridges experimental music, ecology, and bioacoustics. A longtime collaborator in the Frozen Music ensemble, he develops custom sound technologies and performance systems that transform environmental listening into immersive musical experiences. His contributions to the ensemble reflect decades of innovation in electroacoustic music, acoustic ecology, and the exploration of sound as a medium for understanding the living world.

David Tudor (1926–1996) was a pianist and composer closely associated with John Cage and a central figure in the development of experimental and live electronic music. His work helped redefine performance as an open, systems-based process.

Russell Frehling is a Miami-based sound artist and organizer whose work explores environmental sound, improvisation, and experimental listening practices. He is the founder of Frozen Music.

Frozen Music is a Miami-based experimental music collective dedicated to improvisation, sound exploration, and the presentation of alternative listening environments.

Juraj Kojš (Slovakia/USA) is an “artphibian” working across music, sound art, theater, poetry, mixed media, multimedia, bioacoustics, and technology as a creator and performer. Kojš has received commissions from the Knight Foundation, Meet the Composer, Harvestworks, Vizcaya Museum and Gardens, Miami Theater Center, and Live Arts Miami.

Sunday, August 16, 2026 | RSVP

jamJamStrawberry: Strawberry Sweets

Born from a 2004 digital exchange between Miami (Sony Mao) and Tokyo (Sawako) and a studio session in Suite 801 of The Olympia in downtown Miami, jamJam Strawberry merges “soft glitch” aesthetics with electro-acoustic sound. Now featuring Sony Mao and Emile Milgrim, the duo returns to the Deering Estate on August 15th to premiere their “Sweets” trilogy in its entirety.

Formed via the microsoft.org digital repository circa 2004, jamJam Strawberry is an experimental collaboration primarily featuring Sony Mao and Sawako. Originally dubbed “Dropbox Darlings,” the duo began by exchanging audio files between Miami and Tokyo crafting a signature sound of “soft“ electronics and intricate glitches. The projects early “soft glitch“ evolution included file sharing contributions from Andreas Berthling and Øivind Idsø (a.k.a. Skuur).

The duo’s world Premiere live performance at Subtropic 17 (2005) at the Dorsch Gallery in Miami, focused on digital mechanics, highlighting improvisational, laptop and device performance and “Post-Digital” aesthetics. The headlining set by jamJam Strawberry was supported by sets by Dino De Felipe, the prolific Miami experimentalist known for his erratic glitch and avant-pop, and Phoenecia (Josh Kay and Romulo Del Castillo a.k.a. Soul Oddity), the influential Miami IDM/Experimental duo. Fred Longberg-Holm, the creative cellist, also made a notable solo appearance at the Dorsh Gallery.

Coverage in the Miami New Times (February 17, 2005) and the Miami Herald (February 20, 2005) documented the event as a pivotal moment for the Microsound community, transitioning, virtual collaboration into live performance, emphasizing the “interactive web-based“ aspect of the performance; noting the premiere of the collaboration, the cerebral nature of the local sound art scene and its intersection with global sound art and electronic music scenes. The Fall 2005 Computer Music Journal (Vol. 29, No. 3) further reviewed the event praising the duo’s blend of granular synthesis and post-digital ambient textures.

For live performances and sound marathons like Subtropics they often integrate Emile Milgrim on electro acoustic percussion and archival support. Their work, notably, “Strawberry Sweet (Our Soft Selves)” bridges the gap between digital precision and human intimacy.

Today the project continues as a core performing duo consisting of Sony Mao and Emile Milgrim while maintaining its digital collaborative roots via the ongoing participation of original dropbox contributor Øivind Idsø and Tokyo-based, sound artist and singer Moskitoo (a.k.a. Sanae Yamasaki).

Milgrim, Idsø and Moskitoo have contributed to Sony Mao and Sawako’s second Strawberry Sweet and forthcoming vinyl release, “Strawberry moon in aspic,” which premiered during Subtropics Marathon Fall 2025 at Deering Estate.

A third, untitled, “Strawberry Sweet” by Sony Mao and Sawako will premiere during their August 16th engagement at Deering Estate with Sony Mao, Emile Milgrim and a special guest soloist in attendance.

This will also be the first time jamJam Strawberry will perform all three ‘Sweets’ in entirety with media support by Barron Sherer and Freddy Jouwayed. This event is a coproduction of The Inertials arts collective and Subtropics.

ABOUT THE ARTISTS

Sony Mao
An experimental sound artist and composer based in Miami and Los Angeles, Sony Mao is a prominent figure in the microsound and tactical media scenes. Their work utilizes granular synthesis and electro-acoustic chaos to explore the intersection of sound and social activism. A longtime “tactical ally” of the sound art collective Ultra-Red and a member of the Beta Bodega Coalition, Sony Mao has released music on labels such as Ritornell, Mille Plateaux, and Public Record.

Sawako (a.k.a.Sawako Kato)
The late Tokyo-based musician and multimedia artist was celebrated for her “soft glitch” aesthetic and immersive, post-digital ambient soundscapes. By blending field recordings with delicate digital processing, she became a prominent voice in the global experimental community with acclaimed releases on 12k and Mille Plateaux. She was the foundational creative partner in the duo jamJam Strawberry.

Emile Milgrim
A Miami-based multi-instrumentalist, archivist, and cultural organizer, Emile Milgrim is the founder of the Other Electricities label and a core member of jamJam Strawberry. Her diverse practice ranges from “dream punk” rhythms with the band Las Nubes to site-specific sound art with the duo Archival Feedback. Known for her community-driven approach, she frequently provides live percussion and documentation for experimental projects and is cofounder of Miami Girls Rock Camp.

Moskitoo (a.k.a. Sanae Yamasaki)
A Tokyo-based sound artist and musician, Moskitoo is a longtime collaborator within the Jamjam Strawberry ecosystem. Known for her ethereal blending of organic instruments, vocals, and digital textures, she contributes to the project’s ongoing digital evolution. Her work has been featured on the second of the “Strawberry Sweets” and the forthcoming vinyl release, Strawberry Moon in Aspic.

Øivind Idsø (a.k.a. Skurr)
A digital artist and musician, Øivind Idsø was one of the original “Dropbox Darlings” whose file-sharing contributions were instrumental to jamJam Strawberry’s inception. By introducing “rough edges” into the project’s early file exchanges, Idsø helped define the duo’s signature “soft glitch” evolution through a unique tension of texture. He continues to sustain the group’s digital roots from Norway.

Sunday, September 27, 2026 | RSVP | New Date

Audible Systems: Held / Garet + Matamoros
A program of intermedia works exploring sound, image, and perception as interconnected systems.

PROGRAM

Nine Movements by Barbara Held and Richard Garet
Tone Poem in Surround (acousmatic version) by Gustavo Matamoros

ABOUT THE WORKS AND THE ARTISTS

Nine Movements

Barbara Held and Richard Garet first met in 2007 at Experimental Intermedia, founded by Phill Niblock, during the Screen Compositions program curated by Katherine Liberovskaya. Since then, they have maintained an ongoing dialogue, collaborating through exhibitions, exchanges of work, and intermittent long-distance processes.

Nine Movements emerged from this sustained exchange—an open, non-hierarchical process shaped by mutual responsiveness. Rather than working toward predefined outcomes, the collaboration evolved through iterative testing, where sound and image were continuously shared, reworked, and integrated. What began as a series of short, independent pieces gradually coalesced into a unified durational composition, structured through nine distinct yet interconnected movements.

Held’s sonic practice centers on the interiority of the flute—breath, microtonality, and timbral nuance—extended through filtering systems, analog synthesis, and subtle field recordings. Working with a Moog synthesizer and custom software, she developed a hybrid sonic language in which acoustic and electronic sources merge, unfolding within a spatialized four-channel environment. The material was largely recorded live, with minimal post-production, emphasizing immediacy and responsiveness.

Garet’s moving image responds directly to these sonic conditions. Drawing from both analog and digital sources, his work explores luminosity, signal behavior, and perceptual instability. Through processes of interference, transformation, and temporal modulation, the images operate as dynamic fields rather than fixed representations, engaging duration, repetition, and variation as compositional elements.

The work unfolds as a reciprocal system in which sound and image co-constitute one another. Held’s sonic structures inform the temporal and affective conditions of the visual field, while Garet’s imagery feeds back into the sonic articulation, shaping its density and spatial presence. This continuous exchange produces an immersive environment where perception is destabilized and reoriented.

—–

Barbara Held and Richard Garet
Nine Movements, 2024
Moving Image
38’41”
Audiovisual

—–

Photo by Luis Olazabal during her performance at Subtropics 24 in 2017.

Barbara Held is a flutist and composer based in Barcelona, Spain. Known for her subtle exploration of the minutiae of sonic material, she creates sensitive, focused sound work that exposes the detail of the physical space of listening in equal part to a keen attention to how we listen as bodies moving through the world. She has performed a very personal body of new repertoire for flute by Spanish and American composers, including Alvin Lucier’s Self-Portrait for flute and wind anemometer, realizations of scores by long-time collaborator Yasunao Tone, and film and performance work with Carles Santos and poet Joan Brossa. Recent collaborations include Pausa:Night with biologist and audio-naturalist Eloisa Matheu at the Vostell Museum in Caceres, Spain, a performance at Artists Space in New York during the show Yasunao Tone: Region of Paramedia, a realization of Christian Marklay’s Chalkboardgraphic score at MACBA Barcelona Museum of Contemporary Art, and a contribution to Audiosphere Sound Experimentation 1980-2020 curated by Francisco Lopez for the Museo Reina Sofia in Madrid. LAND-ING, a multi-channel sound installation with Daniel Neumann was developed from recordings they had made interacting with the landscape of the island of Tenerife. Observatory/Lisa Joy, a generative audiovisual installation with Benton C Bainbridge was presented in Escuchar con los ojos. Arte sonoro en España (1961-2016) at the Fundación Juan March in Madrid, the installation BECOMING with video by artist Eugenia Balcells was recently shown at the Vilacasas Foundation in Barcelona, and the Juan Naranjo Gallery commissioned a retrospective show of sound and image. She structured and created sound for a posthumous spatial installation at the Bilbao Museo de Bellas Artes of Toni Serra’s Il·luminacions – l’experiència de la llum, with fragments of powerful video material from his pilgrimage to Iran. She was the creator and producer of Music at Metrónom, a yearly festival of experimental music in Barcelona that gave special support to interdisciplinary collaboration, a project that she shared with invited co-curators such as Augusti Fernandez, Paul DeMarinis and Francisco Lopez, and curated “Possibility of Action: the life of the score” for the Documentation Center and Archive of the Barcelona MACBA museum of contemporary art. https://barbaraheld.com/

Richard Garet is an intermedia artist whose practice treats sound as material—a generative force and perceptual agent—working across moving image, installation, and expanded audiovisual systems. Engaging transience, impermanence, and media decay, his work transforms sonic, luminous, and imperceptible data into immersive perceptual environments. Through hybrid analog–digital processes of transmission, interference, and erosion, he constructs durational audiovisual works that unfold as dynamic systems of signal, resonance, and temporal flux. He holds an MFA from Bard College, NY. Garet’s work is held in major institutional collections including the Museum of Modern Art (MoMA), Pérez Art Museum Miami (PAMM), Museum of Latin American Art (MOLAA), Cisneros Fontanals Art Foundation (CIFO), the Broward County Cultural Division (Collection), and the SPACE Collection, Irvine, CA, as well as in numerous private collections. His practice has been recognized with awards and grants from Prix Ars Electronica, the Foundation for Contemporary Arts, the New York State Council on the Arts, CIFO Grants & Commissions, and the South Florida Cultural Consortium. Selected institutional presentations include Soundings: A Contemporary Score at the Museum of Modern Art (MoMA), New York, NY; Times Square Arts’ Midnight Moment, New York, NY; the National Gallery of Art (with Sandra Gibson and Luis Recoder), Washington, DC; the San Francisco Museum of Modern Art (SFMOMA), San Francisco, CA; and the Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, Spain; as well as exhibitions at Museo Gurvich, Montevideo, Uruguay; Museo de Arte de Zapopan, Zapopan, Mexico; Pérez Art Museum Miami (PAMM), Miami, FL; and the Black Mountain College Museum + Arts Center, Asheville, NC. His work has also been presented in international biennials including Medellín (BIAM), Colombia; Cuenca, Ecuador; and Cartagena, Colombia. Garet’s work has been featured in publications and curatorial contexts by leading figures including Barbara London—notably through her exhibition catalogue for Soundings: A Contemporary Score at the Museum of Modern Art—and Christiane Paul, including her influential book Digital Art (Thames & Hudson). His work has also been included in international publications dedicated to sound art, media art, and experimental audiovisual practices. http://www.richardgaret.com/

Tone Poem in Surround

A quiet, immersive piece shaped by gesture, touch, and close attention. Built entirely for computer playback—with one exception—it presents a kind of song without singing, where language is traced more than spoken. What you hear is writing: textured marks made audible by their surfaces and tools. Pencil on paper. Marker on glass. One element of this writing unfolds live, visible through a camera, its motions amplified in sound and space.

Alongside the writing, a prepared piano breathes quietly in response—small sounds excited by objects instead of fingers, chosen for their fragility and detail. These micro-events form a series of Audibles, each revealing its own material presence. The poetry behind the writing remains private; what matters here is not meaning, but the moment of its making. What’s heard is intimate, unguarded, and close—recorded without space, and performed in surround.

Gustavo Matamoros is a Miami-based sound artist and experimental composer working across sound art, experimental music, and intermedia. For more than three decades he has developed projects that investigate vibration, spatial perception, and the behavioral qualities of materials, architecture, and living systems. His work centers on the audible, a term he uses to describe the perceptual threshold at which action, source, and environment converge. Through this focus, he advances listening as a primary mode of attention in a culture dominated by images.

Since the late 1980s, Matamoros has worked extensively with multichannel and distributed sound environments. In parallel with the rise of immersive audio formats such as ambisonics and Atmos, he has created artist-designed spatial systems that treat loudspeaker arrays as performative instruments. Audiotheque (2018), a 30-channel configuration, exemplifies this approach: rather than relying on matched speakers or psychoacoustic modeling, the system is tuned intuitively in response to site and material conditions. Through sustained experimentation in large-scale spatial presentation, he is regarded as a Southeast-based pioneer in immersive sound practice.

Matamoros’s projects include permanent and temporary public installations, intermedia performances, radio works, and site-responsive environments that engage diverse audiences in shared acts of listening. Recent commissions and presentations include Quail Roost Sanctuary (Miami-Dade County Art in Public Places); Glasshouse (CYFEST 15, Yerevan Botanical Garden, Armenia); Memorial and Sound Poem in Surround (CYFEST 16, Centro de Cultura Digital, Mexico City); Cylinder (i360 XR Theater, Florida International University); and Chappell’s Chapel (Atlantic Center for the Arts). His 120-channel intermedia performance Sound Paintings with Frozen Music premiered at SoundScape Park, Miami Beach. These works situate experimental sound within civic, architectural, and ecological contexts, expanding public access to immersive artistic experiences.

He is the founder and artistic director of the Subtropics Festival, an experimental music and intermedia platform active since 1989. Conceived as both curatorial initiative and artistic laboratory, Subtropics has presented figures including John Cage, Pauline Oliveros, Phill Niblock, Alison Knowles, and numerous contemporary artists. Through this platform, Matamoros has contributed significantly to South Florida’s cultural landscape while testing how presentation itself shapes perception. His leadership has helped sustain an international dialogue in experimental sound within the region.

Matamoros holds a B.M. in Music Theory and Composition from the University of Miami and studied with Earle Brown, Russell Frehling, Robert Ashley, and David Dunn, among others. He received three Knight Arts Challenge Awards (2010, 2018, 2021), several Miami-Dade Cultural Affairs MIA Grants since 2021, and was named Community Partner of the Year by Deering Estate (2023).

Across formats and scales, his work fosters perceptual awareness, inviting audiences to reconsider their relationship to space, environment, and one another through the act of listening.

Sunday, September 13, 2026 | RSVP | New Date

The Music of Julio Roloff

Miami-based composer Julio Roloff is the featured guest artist in this 2026 series. In a full program, Roloff presents acoustic, electroacoustic, and computer music with guest musicians. The selection of works showcases Roloff’s exploration of structure, timbre, and sonic transformation across various media and performance contexts.

PROGRAM

HALLEY 86 | Computer Music

RONDO | for solo cello

Isaac Casal, cello

DUO | for flute and cello

Ana Rolofff, fute

Isaac Casal, cello

LETTERS FROM AFRICA | for solo flute and tape

Ana Roloff, flute

INTERMEZZO

BELLS | Computer Music

VARIATIONS FOR ONE PERCUSSIONIST | for solo percussion

Mark Schubert, solo percussion

PHONEMATIC VOCALIZE | for voice and percussion

Rosi Inguanzo, voice

this program is subject to change without notice

ABOUT THE ARTISTS

Isaac Casal is a Panamanian cellist, educator, and cultural advocate. He is founder and Artistic Director of Panama’s FUNSINCOPA and the Alfredo de Saint-Malo Music Festival, and holds a Doctor of Musical Arts degree from Louisiana State University.

Rosi Inguanzo is an actress, performer,writer and docent, has an intense literary, theatrical and cultural work in Miami. Ms. Inguanzo earned a PHD in Spanish Language and Iberoamerican literature and is the author of several books of poetry and one novela.

Julio Roloff is a Miami-based composer whose work spans acoustic, electroacoustic, and computer music, with a focus on structure, timbre, and sonic exploration. He is the features composer of the 2026 Audible Fields series.

Ana Roloff is a flutist whose performance practice engages contemporary and experimental repertoire, with a focus on collaboration and new music performance. Ana graduated from FIU with a Bachelor’s of Arts in music performance. During her time there, she was a member of the new music ensemble, where she performed numerous contemporary works.

Mark Schubert is a percussion/timpani student of Saul Goodman and graduate with BM in composition from the University of Iowa. In South Florida he has 35+ years of performing as Principal Timpanist in most symphony, ballet, and opera organizations. His interest in contemporary music has featured him as soloist in several ensembles including the American Composers Orchestra.