The Poetics of Unforgetting – Hackney Picturehouse – June 6

Artprojx presents: The Poetics of Unforgetting

Jumana Manna, Mickalene Thomas, Susanna Wallin

Hackney Picturehouse, 270 Mare Street, London E8 1HE 

Thursday 6th June 2013. 7-8.30pm

Blessed Blessed Oblivion by Jumana Manna

Happy Birthday to a Beautiful Woman by Mickalene Thomas

Marker & Echo Park by Susanna Wallin

Introduced by David Gryn

Tickets on sale NOW

Tickets £6 / £5 (concs) : Call 0871 902 5734 or visit Hackney Picturehouse website
www.picturehouses.co.uk  www.artprojx.com  http://davidgryn.wordpress.com

Twitter @Artprojx @HackneyPH @ArtprojxCinema

Facebook event

A First Thursday special artist’s film & video screening event

Artprojx presents Penny Siopis Films 11 Oct – Frieze Art Fair Week

Artprojx presents … Penny Siopis Films

ARTPROJX & STEVENSON PRESENT

‘THIS IS A TRUE STORY’: FOUR SHORT FILMS BY PENNY SIOPIS.

Thursday 11 October 2012, 8.15-9.45pm (doors open at 8pm).

Artprojx at Prince Charles Cinema, 7 Leicester Place, London WC2H 7BY.

With TJ Demos and Penny Siopis in conversation and introducing the films.

FREE BEER & POPCORN.

Tickets £10 (discount £5 for artists, students, curators and PCC members).

Box office: +44 (0)20 74943654 www.princecharlescinema.com .

Gallery, Frieze and Artprojx guests contact artprojxcinema@gmail.com

(Each ticket is entitled to one free beer and popcorn).

STEVENSON and ARTPROJX are pleased to present four short films by Penny Siopis at the Prince Charles Cinema in London as part of the Frieze Art Fair VIP programme. The screening will be introduced by writer/curator TJ Demos in conversation with the artist.

www.artprojx.com

http://www.stevenson.info/

twitter.com/artprojx

http://www.facebook.com

http://friezelondon.com/

Penny Siopis screening preview on FAD written by Yvette Gresle http://www.fadwebsite.com/2012/09/22/frieze-penny-siopis-at-prince-charles-cinema/

For more information on Penny Siopis please contact press@stevenson.info

For event information contact David Gryn at Artprojx david@artprojx.com +447711127848

Forthcoming Artprojx projects

David Gryn / Artprojx curates for ‘The Voice and the Lens’ at IKON, Birmingham, Nov 2012. Artists: Terry Smith, David Blandy, Rashaad Newsome, Mel Brimfield, Kota Ezawa, Dara Friedman, Martha Rosler

David Gryn / Artprojx curates for the launch of MOCAtv. Artists: Meredith Danluck, Jesper Just, Kerry Tribe, Matthew Stone, Nick Abrahams, Stuart Croft, Sam Samore and Thomas Nordanstad, Shoja Azari, Jumana Manna, Hans op de Beeck, Nicholas Provost, Susanna Wallin

David Gryn / Artprojx curates Art Video for Art Basel Miami Beach 2012

Artprojx and Stevenson present Four Short Films by Penny Siopis 11 Oct

Penny Siopis: Four Short Films

ARTPROJX & STEVENSON PRESENT

‘THIS IS A TRUE STORY’: FOUR SHORT FILMS BY PENNY SIOPIS.

11 October 2012, 8.15-9.45pm (doors open at 8pm).

Artprojx at Prince Charles Cinema, 7 Leicester Place, London WC2H 7BY.

With TJ Demos and Penny Siopis in conversation and introducing the films.

FREE BEER & POPCORN.

Tickets £10 (discount £5 for artists, students, curators and PCC members).

Box office: +44 (0)20 74943654 www.princecharlescinema.com .

Gallery, Frieze and Artprojx guests contact events@artprojx.com

(Each ticket is entitled to one free beer and popcorn).

Penny Siopis screening preview on FAD written by Yvette Gresle http://www.fadwebsite.com/2012/09/22/frieze-penny-siopis-at-prince-charles-cinema/

STEVENSON and ARTPROJX are pleased to present four short films by Penny Siopis at the Prince Charles Cinema in London as part of the Frieze Art Fair VIP programme. The screening will be introduced by writer/curator TJ Demos in conversation with the artist.

www.artprojx.com

http://www.stevenson.info/

twitter.com/artprojx

http://www.facebook.com

http://friezelondon.com/

For more information on Penny Siopis please contact press@stevenson.info

and for the event contact Artprojx events@artprojx.com

Artprojx Newsletter May 2012

Kota Ezawa ‘Brawl’ courtesy Murray Guy Gallery, New York

Artprojx Cinema presents … Untied Tastes of America, artist’s films and video, selected by David Gryn.

Artists: Yael Bartana, Slater Bradley, Meredith Danluck, Kota Ezawa, Dara Friedman, Jesper Just, Ryan McGinley, Ryan McNamara, Takeshi Murata, Rashaad Newsome, Martha Rosler, Mungo Thomson.

28th Hamburg International Short Film Festival, May 29th – June 4th 2012

http://www.shortfilm.com

http://www.facebook.com/events/179170312208663/

Artprojx 3 Day Course @ Artupdate Learning 12-14 June 2012

A three day course giving you an overview of the artworld and the tools to help you progress. The art world can seem a strange and difficult place to navigate, this course gives you the knowledge and understanding to help you find your way.

Artupdate Learning @ The Fashion & Textile Museum, 83 Bermondsey Street, London SE1 3XF.

The course is suitable for art students, recent graduates, artists, curators and anyone who want to get more insights into the artworld.

Space is limited, book by 31st May 2012 to receive the special introductory price. Booking and further information is available here http://www.artupdatelearning.com/artworld-business-promotion-summer-school

See more info at http://www.artprojx.com

Hamburg International Short Film Festival interview with David Gryn

Artprojx presents: Untied Tastes of America

Interview with David Gryn

IKFF: As the founder and director of Artprojx Cinema you are a true all-rounder and pioneer. How would you describe the background and motivation of your work?

David Gryn: I would say that my motivation for what I do is rooted in my early experiences as an art student/artist of seeing artists’ films and videos in the context of museums and galleries and I never found it satisfying and I could never watch anything from the beginning to the end, as I was always distracted, and wanted to socialize and yet I was always happy sitting in cinemas and being generally engrossed by whatever I watched and for long durations. So I started screening films in cinemas, which was not a new concept, but aiming at marketing and promoting the events and experiences in a similar way to how cinemas market mainstream film. I also like to show films that I enjoy listening to, as for me a great film is something that affects all my senses, but I always walk away from a film with a memory of its sound and music.

You liaise with galleries, museums, art fairs, distribution companies and corporations. During the Armory Show in March, Artprojx Cinema and AV-arkki brought video art to the silver screen at the SVA Theatre in Chelsea. Is the divide between the white cube and the
cinema dissolving?

I think the divide is ever increasing – but for the wrong reasons. The art world is kind of polarized between two forces: commerce and art. In my experience over the last ten years I have seen an ever increasing shift away from galleries showing moving image works at art fairs and yet there are more artists than ever making work in this way – so to understand this paradox you have to accept that galleries generally try and show work that sells and most moving image work does not. The galleries showing film may do so for a variety of reasons such as: the artist brings them notoriety/attention/kudos/credibility, the artist is excellent, there is a possibility of sales. In my view the art fairs, the galleries, museums, curators, critics are all filtering systems that help audiences to determine what is quality ›art‹, but can all be fallible. Generally most cinemas do not understand artists’ moving image and there is no real box office incentive to motivate them either. This is where Artprojx stands between the art world and the cinema – to make it clear as to what is being screened – that it is a work made by a visual artist and not by a filmmaker.

Despite the worldwide economic crisis, art objects sell at astronomical prices. What trend do you observe on the video art market?

I know many collectors who think that video art is very good value at present and a very small and unique market – so that buying top works is affordable and that it gives the collector a niche position. I think we are on the verge of artists’ moving image becoming a more valuable player in the art market. However, one of my interests in it as a medium is that it still generally resists the commercial imperative and concentrates on the message and/or the aesthetic.

Filmmakers and video artists use online platforms like YouTube and Vimeo to reach a wider audience. In 2010, The Guggenheim Foundation and YouTube partnered to launch the world’s first professionally curated search for short online films. Is online video capable of becoming an art form in its own right?

I think like anything, the best work made by good artists is good art regardless of where or on what it is shown. The problem lies with the agenda (commercial or political) of the platform and its partners and the presumption from audiences that all art is art, and by default anything can be art if you call it art. Which as any art saturated reader will know – that just isn’t the case. If the platforms and companies can have good people at the helm steering the art ship then it is likely that the work featuring on new platforms will be in safer hands. I am happy viewing art on YouTube and similar sites in much the same way I look at newspapers and TV, but I believe that the experiencing of art is generally social, physical, dramatic and that showing, sharing and seeing art online is a separate experience – and will evolve in different guises over many years.

Big names like Steve McQueen, Sam Taylor-Wood and Clio Barnard have ventured into the field of feature-length film. Does this have an effect on their credibility as artist filmmakers?

I think they are three very different artists, and I would say that knowing the work of Steve McQueen best – that he is a great artist. However, once you change jobs you become something else ¬– so I just hope that he can maintain the qualities he had as an artist into that of a mainstream filmmaker and that is not to say he won’t make art or that his films are not artful – but they are possibly restricted by the confines of commerce – which pure art is not (or should not be). But I would say I would name and include Bergman, Tarkovsky, Lynch, Waters, Sofia Coppola in my list of great artists in any medium.

You work all around the world, but as a London-based American you are especially familiar with both the US and European psyche. What kind of interactions, differences and similarities do you observe between the two continents in terms of video art?

I really don’t see art or life as having nationalistic boundaries or being defined by passports – so in essence and I state the obvious – the best artists make the best art whatever the medium or location. I would say that artists in urban centres – such as London and NY – have more opportunities around them to encourage their success and are more likely to merge into a network to help propel them. The interactions between artists often don’t take place due to the resistance to collaboration. The financial support mechanisms for artists are based on private funding/patronage in the USA against a more public funding system in Europe – and both have an effect on the art and its making.

You were the curator of Art Video at last year’s Art Basel Miami Beach. We are absolutely thrilled that you are going to show some works that were featured in the ›Americania‹ programme. The title is an amalgam of America and Arcadia which seems to be an oxymoron at first sight. What was the idea behind the selection of works and the designation of the programme?

This programme title ›Untied Tastes of America‹, like ›Americania‹ is an obvious play on words. It is the unrestricted visions of America both good and difficult. My thinking was moulded by seeing Martha Rosler’s one-minute film ›God Bless America‹, which packs a hefty punch via such simple means. Her anti-war work has a wit, sadness, introspection and a powerful message – that encouraged my thinking and selection of the other works in the programme.

Interview: Mirjam Wildner via e-mail.

German version:

Artprojx presents: Untied Tastes of America
Interview mit David Gryn

IKFF: Als Gründer und Leiter von Artprojx Cinema sind Sie ein echter Allrounder und Vorreiter. Wie würden Sie ihren Background und die Motivation für Ihre Arbeit beschreiben?

David Gryn: Ich würde sagen, die Motivation für das, was ich mache, liegt in meinen frühen Erfahrungen als Kunststudent beziehungsweise Künstler verankert. Damals sah ich Kunstfilme und -videos in Museen und Galerien und fand das nie befriedigend. Ich konnte mir nichts von Anfang bis Ende anschauen, weil ich immer abgelenkt war und mich lieber mit den Leuten um mich herum unterhalten wollte. Gleichzeitig gefiel es mir aber, im Kino zu sitzen und in das, was auch immer ich da sah, für einen längeren Zeitraum einzutauchen. Also fing ich an, Kunstfilme in Kinos zu zeigen. Dabei folgte ich zwar keinem neuen Konzept, aber mir ging es darum, die Veranstaltungen und Erlebnisse so zu vermarkten und zu promoten, wie es Kinos mit Mainstream-Filmen machen. Mir gefällt es, Filme zu zeigen, denen ich gerne zuhöre, denn meiner Meinung nach muss ein guter Film immer alle meine Sinne ansprechen. Wenn ich einen Film gesehen habe, bleiben immer der Ton und die Musik in meinem Gedächtnis hängen.

Sie arbeiten mit Galerien, Museen, Kunstmessen, Vertriebsfirmen und Unternehmen zusammen. Während der Armory Show im März brachten Artprojx Cinema und AV-arkki Videokunst auf die Kinoleinwand des SVA Theatre in Chelsea. Wird die Kluft zwischen White Cube und Kino kleiner?

Ich denke, die Kluft wird immer größer – aber aus den falschen Gründen. Die Kunstwelt bewegt sich gewissermaßen zwischen zwei Polen beziehungsweise Kräften: Kommerz und Kunst. Meine Erfahrung der letzten zehn Jahre hat gezeigt, dass Galerien immer mehr Abstand davon nehmen, Film- und Videokunst auf Kunstmessen zu zeigen. Gleichzeitig gab es aber in diesem Bereich noch nie so viele Künstler wie heute. Um dieses Paradoxon zu verstehen, muss man sich damit abfinden, dass Galerien generell versuchen Arbeiten zu zeigen, die sich gut verkaufen. Film- und Videokunst gehört nicht dazu. Galerien, die Filme präsentieren, können verschiedene Beweggründe dafür haben: zum Beispiel, weil der Künstler ihnen Bekanntheit, Aufmerksamkeit, Renommee beziehungsweise Glaubwürdigkeit verschafft; weil der Künstler hervorragend ist und die Verkaufschancen gut aussehen. In meinen Augen sind die Kunstmessen, Galerien, Museen, Kuratoren und Kritiker allesamt Filtersysteme, die dem Publikum dabei helfen festzulegen, was qualitativ hochwertige ›Kunst‹ ist. Aber keiner von ihnen ist unfehlbar. In der Regel verstehen die meisten Kinos nichts von Film- und Videokunst und da es sich nicht gerade um potenzielle Kassenschlager handelt, kann man sie dazu auch nicht motivieren. Genau an diesem Punkt zwischen der Kunstwelt und dem Kino vermittelt Artprojx. Wir machen transparent, was gezeigt wird, und dass es sich um die Arbeit eines visuellen Künstlers handelt und nicht um die eines Filmemachers.

Trotz der Weltfinanzkrise werden Kunstobjekte zu astronomischen Preisen verkauft. Welchen Trend beobachten Sie auf dem Markt für Videokunst?

Ich kenne viele Sammler, die der Auffassung sind, dass Videokunst gegenwärtig sehr preiswert ist und einen sehr kleinen und einzigartigen Markt darstellt, sodass der Kauf von erstklassigen Werken erschwinglich ist und der Sammler eine Nische für sich beanspruchen kann. Wir werden bald erleben, dass die Film- und Videokunst eine größere und wertigere Rolle auf dem Kunstmarkt einnehmen wird. Mich hingegen interessiert an dem Medium, dass es immer noch dem kommerziellen Imperativ weitgehend standhält und sich auf die Botschaft beziehungsweise auf die Ästhetik konzentriert.

Filmemacher und Videokünstler nutzen Online-Plattformen wie YouTube und Vimeo, um ein größeres Publikum zu erreichen. 2010 kooperierten die Guggenheim Foundation und YouTube, um den ersten professionell kuratierten Wettbewerb für Online-Kurzfilme aus der Taufe zu heben. Haben Online-Videos das Potenzial, sich zu einer eigenständigen Kunstform zu entwickeln?

Ich denke ganz allgemein, die beste Arbeit eines guten Künstlers ist gute Kunst, egal wo sie gezeigt wird. Problematisch sind die Absichten – kommerzielle oder politische – der Plattform und ihrer Kooperationspartner und die Annahme des Publikums, dass alles automatisch Kunst sein kann, wenn man es als solche bezeichnet. Und das ist, wie jeder Kunstkenner weiß, einfach nicht der Fall. Wenn die Plattformen und Unternehmen gute Leute am Steuer haben, ist es wahrscheinlich, dass die Arbeiten hier in urteilssichereren Händen sind. Ich schaue mir gerne Kunst auf YouTube und ähnlichen Seiten an. So wie ich Zeitung lese und Fernsehen gucke. Ich glaube allerdings, dass das Erleben von Kunst etwas Gemeinschaftliches, Physisches, Dramatisches ist. Das Zeigen, Teilen und Sehen von Kunst im Internet ist eine völlig andere Erfahrung und wird im Laufe der Jahre unterschiedliche Formen annehmen.

Große Namen wie Steve McQueen, Sam Taylor-Wood und Clio Barnard haben sich in den Bereich des Langfilms gewagt. Hat das einen Einfluss auf ihre Glaubwürdigkeit als Filmkünstler?

Ich denke, es sind drei sehr unterschiedliche Künstler. Ich bin mit Steve McQueens Arbeit am vertrautesten und würde sagen, dass er ein großartiger Künstler ist. Sobald man jedoch seinen Beruf wechselt, entwickelt man sich zu jemand anderem. Ich hoffe einfach, dass er die Qualitäten, die er als Künstler hatte, auch als Mainstream-Filmemacher aufrechterhalten kann. Und damit meine ich nicht, dass er keine Kunst mehr machen wird oder dass seine Filme nicht kunstvoll sind, aber sie werden möglicherweise durch den kommerziellen Rahmen eingeengt werden, was auf Kunst in ihrer Reinform nicht zutreffen sollte. Ich würde Bergman, Tarkovsky, Lynch, Waters und Sofia Coppola auf meiner Liste großartiger Künstler jeglichen Mediums nennen.

Sie arbeiten auf der ganzen Welt, aber als in London lebender Amerikaner sind Sie mit der amerikanischen und europäischen Psyche ganz besonders vertraut. Welche gegenseitigen Beeinflussungen, Unterschiede und Ähnlichkeiten beobachten Sie zwischen den zwei Kontinenten im Hinblick auf Videokunst?

Meiner Ansicht nach haben weder die Kunst noch das Leben nationalstaatliche Grenzen und sie lassen sich nicht über einen Reisepass definieren. Im Wesentlichen – und das ist nichts Neues – produzieren die besten Künstler die beste Kunst, egal in welchem Medium oder an welchem Ort. Ich würde sagen, dass Künstlern in Metropolen wie London und New York mehr Möglichkeiten zur Verfügung stehen, die ihren Erfolg fördern, und die Wahrscheinlichkeit ist größer, dass sie den Weg in ein Netzwerk finden, das ihnen dabei hilft weiterzukommen. Eine Zusammenarbeit zwischen Künstlern findet selten statt, weil sie sich vor Kollaborationen scheuen. Die finanziellen Fördermechanismen für Künstler basieren in den USA auf privater Unterstützung beziehungsweise Mäzenatentum, während es sich in Europa meistens um öffentliche Fördermittel handelt. Beide beeinflussen die Kunst und ihr Entstehen.

Sie haben letztes Jahr die Video Art auf der Art Basel Miami Beach kuratiert. wir sind sehr glücklich, dass Sie einige Werke aus dem ›Americania‹-Programm zeigen werden. Der Titel ist ein Amalgam aus America und Arcadia, was auf den ersten Blick widersprüchlich erscheint. Welche Idee stand hinter Ihrer Auswahl der Arbeiten und der Ausrichtung des Programms?

Der Programmtitel ›Untied Tastes of America‹ ist wie ›Americania‹ offensichtlich ein Wortspiel. Es geht um die unlimitierten Bilder von Amerika, sowohl um die guten als auch um die schwierigen. Meine Überlegungen nahmen Gestalt an, als ich Martha Roslers Einminüter ›God Bless America‹ sah, der einem mit solch einfachen Mitteln einen kräftigen Schlag verpasst. Ihr Antikriegswerk hat eine Scharfsinnigkeit, Traurigkeit, Introspektion und starke Botschaft. All das beeinflusste meine weiteren Überlegungen und die Auswahl der anderen Arbeiten des Programms.

Das Interview führte Mirjam Wildner via E-Mail im April 2012

http://festival.shortfilm.com/index.php?id=3364&L=1

IKFF_12_gryn_korrektur copy

Luke Fowler screenings at SVA Theatre New York – Friday March 9

The Modern Institute and Artprojx Cinema presents
A Grammar for Listening (Parts 1 – 3) & All Divided Selves
by
Luke Fowler

Friday March 9 at 8.30pm and 9.30pm

at

SVA Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York, NY 10011
ENTRY IS FREE. RSVP artprojxcinema@gmail.com to confirm which screening or both.

more details:

Luke Fowler
Friday 9 March 2012

A Grammar for Listening (Parts 1 – 3) 8.30pm

Silence dominated the experimental film of the 1960s. Sound or musical accompaniment was often dismissed as illustrative, manipulative or redundant. Instead, a return to experiments of early cinema concentrated on rhythm, structure and material and thereby considered film’s potential as a unique art form with its own grammar. Prior to this tendency in film, composer John Cage had foregrounded silence within his 1953 composition ‘4’33’. Purging concerts of conventional musical content, he allowed the sounds from outside to come inside and become the focus of the audience’s attention.

These foundational ideas have led to a burgeoning music scene focused on environmental sound and field recording. Outlining some of the complexities between film and sound, Luke Fowler’s film cycle ‘A Grammar for Listening (parts 1-3)’ attempts to confront these contradictions through the possibilities afforded by 16mm film and digital sound recording devices. These three films, created in collaboration with sound artists Lee Patterson and Toshiya Tsunoda and composer Éric La Casa respectively, provide a series of collaborations and meditations on the issues raised, and propose a number of tentative navigations through.

All Divided Selves 9.30pm
The social and cultural revolutions of the 1960s were spearheaded by the charismatic, guru-like figure of Glasgow born psychiatrist R.D. Laing. In his now classic text ‘The Politics of Experience’ (1967), Laing argued that normality entailed adjusting ourselves to the mystification of an alienating and depersonalizing world. Thus, those society labels as ‘mentally ill’ are in fact ‘hyper-sane’ travelers, conducting an inner voyage through aeonic time. The film concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment and disturbed interaction in institutions as significant factors in the aetiology of human distress and suffering.

All Divided Selves reprises the vacillating responses to these radical views and the less forgiving responses to Laing’s latter career shift from well-recognized psychiatrist to celebrity poet. A dense, engaging and lyrical collage — Fowler weaves archival material with his own filmic observations — marrying a dynamic soundtrack of field recordings with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair Roberts.

Luke Fowler
Luke Fowler (b. 1978) is an artist, filmmaker and musician based in Glasgow. His films, a collage of found footage and Fowler’s own recordings, have documented the work of British counter cultural figures including Scottish psychiatrist R. D. Laing and composer Cornelius Cardew. Through his collaboration with experimental musicians Toshia Tsunoda, Lee Patterson and Eric la Casa, he creates dynamic soundtracks of original compositions and field recordings for these works.

His new feature-length film ‘All Divided Selves’ is the third work to take up the legacy of radical psychiatrist R.D. Laing. It concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment as significant factors in human distress and suffering. The film premiered at Anthology Film Archive in New York in November 2011 and has been screened as part of the Berlin Film Festival this year.

The Modern Institute will be making a solo presentation of Luke’s new photographic prints at the Independent Fair in New York in March. His recent solo exhibitions include Inverleith House, Edinburgh; ‘All Divided Selves’, CCS Bard Galleries, Bard College, Annandale-on-Hudson, New York; Serpentine Gallery, London; ‘A Grammar For Listening’, The Modern Institute, Glasgow; and ‘Warriors’, X Initiative, New York; Kunsthaus Zürich, Zürich. Forthcoming solo exhibitions include ‘The Poor Stockinger’ at The Hepworth, Wakefield. He participated in ‘Cornelius Cardew and the Freedom of Listening’, CAC Bretigny; ‘British Art Show 7: In The Days Of The Comet’, Nottingham Contemporary, Nottingham and The Hayward Gallery, London; ‘Radical Nature’, Barbican Art Gallery, London; ‘The Associates’, DCA, Dundee; ‘What You See is Where You’re At’, The Scottish National Gallery of Modern Art, Edinburgh; Kunsthaus Zürich, Zürich; and ‘Younger than Jesus’, New Museum, New York; In 2008 he received the inaugural Derek Jarman Award.

The Modern Institute
The Modern Institute has been described by Art Review as ‘a model for galleries around the world’. Since its foundation in 1998 it has played an important role in putting Glasgow on the world art map through its association with some of the most important names in contemporary art. The gallery represents 38 artists who are regularly exhibiting internationally in museums and institutions. These include four Turner Prize winners; Martin Boyce (2011), Richard Wright (2009), Simon Starling (2005), Jeremy Deller (2004) and two further nominees; Cathy Wilkes (2008) and Jim Lambie (2005). Several of the artists have exhibited at the Venice Biennale, with Martin Boyce representing Scotland with a solo presentation in 2009.

Artists represented include: Dirk Bell, Martin Boyce, Jeremy Deller, Alex Dordoy, Urs Fischer, Kim Fisher, Luke Fowler, Henrik Håkansson, Mark Handforth, Georg Herold, Thomas Houseago, Richard Hughes, Chris Johanson, Andrew Kerr, Jim Lambie, Duncan MacQuarrie, Victoria Morton, Scott Myles, Nicolas Party, Toby Paterson, Simon Periton, Manfred Pernice, Mary Redmond, Anselm Reyle, Eva Rothschild, Monika Sosnowska, Simon Starling, Katja Strunz, Tony Swain, Spencer Sweeney, Joanne Tatham & Tom O’Sullivan, Padraig Timoney, Hayley Tompkins, Sue Tompkins, Cathy Wilkes, Michael Wilkinson, Gregor Wright, Richard Wright.

The Modern Institute: Luke Fowler Solo Presentation 3rd Floor, Independent, 548 West 22nd St, New York, NY 10011. March 8-11, 2012

MODERN INSTITUTE www.themoderninstitute.com
INDEPENDENT www.independentnewyork.com/

Artprojx / David Gryn promotes and screens artist’s film and video programs in the context of the cinema, working in collaboration with galleries, artists, art museums and art fairs.

ARTPROJX CINEMA on FACEBOOK

 and more links

Artprojx at SVA Facebook link http://www.facebook.com/events/387609651265201/

FAD website http://www.fadwebsite.com/2012/02/29/artprojx-presents-luke-fowler-and-mystery-show-feat-four-finnish-artists-sva-theatre-ny-march-9-10/

Artist at Large http://www.artist-at-large.com/2012/02/27/artprojx-cinema-presents-at-the-sva-theatre-new-york-2012/?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+artist-at-large+%28artist-at-large%29

STRAIGHT TO VIDEO http://straighttovideo.org/2012/02/artprojx-cinema-presents-luke-fowler-and-mystery-show-at-sva-theatre-nyc/

ALL EVENTS IN NEW YORK http://allevents.in/new%20york/Artprojx-Cinema-at-SVA-Theatre-New-York-2012/387609651265201

RHIZOME – LUKE FOWLER http://rhizome.org/announce/events/58097/view/

Espacio de Manon http://manonmona.wordpress.com/2012/03/06/luke-fowler-screenings-at-sva-theatre-new-york-friday-march-9/

Artprojx website http://artprojx.com/lukefowlerandavarkki.html

RSVP for FREE TICKETS Artprojx Cinema at SVA Theatre New York March 9-10

ARTPROJX CINEMA PRESENTS at the SVA THEATRE, NEW YORK 2012

The Modern Institute and Artprojx Cinema presents :
A Grammar for Listening (Parts 1 – 3) 8.30pm & All Divided Selves 9.30pm.
by Luke Fowler.
Friday March 9.

&

Artprojx Cinema & AV-arkki, The Distribution Centre For Finnish Media Art presents :
“Mystery Show” – featuring Four Finnish Artists: Liisa Lounila, Erkka Nissinen, Pilvi Takala, Timo Vaittinen
Saturday March 10 at 7pm and 8pm.
Program lasts 45 minutes (played twice). Followed by a tasty reception and meet the artists.
Supported by the Consulate General of Finland in New York, The Finnish Cultural Institute in New York and The Finnish Cultural Foundation.

at

SVA Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York, NY 10011.
ENTRY IS FREE. RSVP artprojxcinema@gmail.com to reserve your seat and confirm which screening/s you prefer.

More details and event information:
ARTPROJX www.artprojx.com
DAVID GRYN davidgryn.wordpress.com
THE MODERN INSTITUTE www.themoderninstitute.com
INDEPENDENT www.independentnewyork.com/
AV-ARKKI www.av-arkki.fi

ARTPROJX CINEMA on FACEBOOK

SPREAD THE WORD !

STRAIGHT TO VIDEO http://straighttovideo.org/2012/02/artprojx-cinema-presents-luke-fowler-and-mystery-show-at-sva-theatre-nyc/

ALL EVENTS IN NEW YORK http://allevents.in/new%20york/Artprojx-Cinema-at-SVA-Theatre-New-York-2012/387609651265201

RHIZOME – LUKE FOWLER http://rhizome.org/announce/events/58097/view/

RHIZOME – MYSTERY SHOW http://rhizome.org/announce/events/58098/view/

FINLAND http://www.finland.org/Public/default.aspx?contentid=243519&nodeid=35833&culture=en-US

Art Video Nights at Art Basel Miami Beach selected by David Gryn, Artprojx

Art Video Nights at Art Basel Miami Beach selected by David Gryn – Artprojx

Image: Ryan McGinley - Entrance Romance 2010

Art Video features film and video works by today’s most exciting international artists, presented by the galleries of Art Basel Miami Beach. Organized in association with London’s Artprojx, Art Video will be screened for the first time in the SoundScape Park, on the 7,000-square-foot outdoor projection wall of the New World Center, as well as within five viewing pods inside the Miami Beach Convention Center.

Selected by David Gryn, Director of Artprojx.
Art Video Nights: For the outdoor screenings at the New World Center, Artprojx has selected six programs running over three nights.
Location: New World Center, SoundScape Park, 500 17th Street, Miami Beach
Free public access: Limited seating is available; bring a blanket or beach chair
Food and beverage available from Atelier Monnier

Wednesday November 30
8pm Landscape — Total running time approximately 54′
The ‘Landscape’ program brings together film and video works with a literal or figurative take on its theme. Each work will take viewers on a curious journey to extraordinary places and unpossessed landscapes.

9pm  Dancer (25′ – screened twice)
The latest film by Miami-based artist Dara Friedman, ‘Dancer’ turns Miami’s street corners into a stage. Filming its performers from a slow-moving van and simultaneously transmitting an upbeat soundtrack into various neighborhoods, passersby appear to be breaking into dance.

Friday  December 2
8pm  Americania — Total running time approximately 42′
Setting the scene for ‘Americania’ in Miami Beach, the selection of short films was inspired by Martha Rosler’s one-minute film ‘God Bless America.’ The program offers a distinctive window onto the United States and the multi-faceted reactions towards the country by various artists.

9pm Music and Dance — Total running time approximately 40′
The program consists of a selection of films that play on the themes of music and dance, mesmerizing and capturing its audience. The videos share a simplicity, a joie de vivre and an engagement that allow the viewer to observe the ordinary through extra-ordinary means.

Saturday  December 3
8pm  Painterly — Total running time approximately 55′
This program combines film, animation, sculpture and painting in an intriguing way. The vigorous artists’ gestures correspond with the fluid wonders of digital technology.

9pm  Brief Features — Total running time approximately 73′
Brief Features presents works that hold the tension, visual captivation, imagination and quality of a full-length arthouse movie, and then offers a little bit more.

Artists: Cory Arcangel,  Yael Bartana, Pierre Bismuth, Slater Bradley, Jordi Colomer, Tim Davis, Brice Dellsperger, Tracey Emin, Kota Ezawa, Dara Friedman, Theaster Gates, Amy Granat, Katy Grannan, Laurent Grasso, Cao Guimarães, Neil Hamon, Camille Henrot, Alex Hubbard, Christian Jankowski, Thomas Julier and Cédric Eisenring, Cristina Lucas, Ryan McGinley, Marilyn Minter, Laurel Nakadate, Rashaad Newsome, Lorraine O’Grady, Michele Oka Doner, Jacco Olivier, Hans Op de Beeck, Martha Rosler, Matt Saunders, Lorna Simpson, Penny Siopis, Jennifer Steinkamp, Tony Tasset, Mungo Thomson, Clemens von Wedemeyer

Galleries: Air de Paris, Alexander Gray Associates, Blum & Poe, Galería Juana de Aizpuru, Galeria Leme, Galeria Nara Roesler, Galerie Christian Nagel, Galerie Eva Presenhuber, Galerie Jocelyn Wolff, Galerie Kamm, Galleria Continua, Galleria Raffaella Cortese, Gavin Brown’s enterprise, Gavlak Gallery, Greenberg Van Doren Gallery, Harris Liebermann, kamel mennour, Karma International, Kavi Gupta Gallery, Lehmann Maupin, Leslie Tonkonow Artworks + Projects, Lisson Gallery, Marlborough Gallery, Meessen De Clercq, Murray Guy, Salon 94, Sean Kelly Gallery, Stevenson, Team Gallery, Victoria Miro Gallery

For detailed program please see Art Video Flyer

David Gryn / Artprojx
artprojx@gmail.com
http://www.artprojx.com
http://davidgryn.wordpress.com
+447711127848

Art Basel Miami Beach links

Art Video – official program http://www.artbaselmiamibeach.com/go/id/eoe/

Art Video Nights (in ABMB Talks + Events) http://www.artbaselmiamibeach.com/go/id/lef/

Art Salon http://www.artbaselmiamibeach.com/go/id/fze/

Press Release http://www.artbaselmiamibeach.com/go/id/cxl/

Photos http://www.artbaselmiamibeach.com/go/id/lbl/detail/true/

Showguide http://www.artbaselmiamibeach.com/go/id/ijd/

Factsheet for schools http://www.artbaselmiamibeach.com/global/show_document.asp?id=aaaaaaaaaaaxbdj

New World Center http://www.nws.edu/eventdetail.aspx?EID=557

e-flux http://www.e-flux.com/shows/view/10422

Art Video – Art Basel Miami Beach 2011 – the program

ART VIDEO Art Basel Miami Beach Nov 30 – Dec 4 2011

Selected by David Gryn, Director, Artprojx

Art Video program  http://www.artbaselmiamibeach.com/go/id/eoe/ 

Showguide http://www.artbaselmiamibeach.com/go/id/ijd/

Art Video: Features film and video works by today’s most exciting international artists, presented by the galleries of Art Basel Miami Beach. Organized in association with London’s Artprojx, Art Video will be screened for the first time in the SoundScape Park, on the 7,000-square-foot outdoor projection wall of the New World Center, as well as within five viewing pods inside the Miami Beach Convention Center.

Martha Rosler - God Bless America, 2006

Artists: Cory Arcangel,  Yael Bartana, Pierre Bismuth, Slater Bradley, Jordi Colomer, Tim Davis, Brice Dellsperger, Tracey Emin, Kota Ezawa, Dara Friedman, Theaster Gates, Amy Granat, Katy Grannan, Laurent Grasso, Cao Guimarães, Neil Hamon, Camille Henrot, Alex Hubbard, Christian Jankowski, Thomas Julier and Cédric Eisenring, Cristina Lucas, Ryan McGinley, Marilyn Minter, Laurel Nakadate, Rashaad Newsome, Lorraine O’Grady, Michele Oka Doner, Jacco Olivier, Hans Op de Beeck, Martha Rosler, Matt Saunders, Lorna Simpson, Penny Siopis, Jennifer Steinkamp, Tony Tasset, Mungo Thomson, Clemens von Wedemeyer

Galleries: Air de Paris, Alexander Gray Associates, Blum & Poe, Galería Juana de Aizpuru, Galeria Leme, Galeria Nara Roesler, Galerie Christian Nagel, Galerie Eva Presenhuber, Galerie Jocelyn Wolff, Galerie Kamm, Galleria Continua, Galleria Raffaella Cortese, Gavin Brown’s enterprise, Gavlak Gallery, Greenberg Van Doren Gallery, Harris Liebermann, kamel mennour, Karma International, Kavi Gupta Gallery, Lehmann Maupin, Leslie Tonkonow Artworks + Projects, Lisson Gallery, Marlborough Gallery, Meessen De Clercq, Murray Guy, Salon 94, Sean Kelly Gallery, Stevenson, Team Gallery, Victoria Miro Gallery

Kota Ezawa - Beatles Uber Califirnia, 2010

ART VIDEO PROGRAM 2011

ART VIDEO NIGHTS: For the outdoor screenings at the New World Center, David Gryn/Artprojx has selected six programs running over three nights.

Location: New World Center, SoundScape Park, 500 17th Street, Miami Beach

Free public access

Limited seating is available; bring a blanket or beach chair

Food and beverages are available from Atelier Monnier

Christian Jankowski - Casting Jesus (trailer) 2011

Wednesday November 30 

8pm Landscape — Total running time approximately 54′

The ‘Landscape’ program brings together film and video works with a literal or figurative take on its theme. Each work will take viewers on a curious journey to extraordinary places and unpossessed landscapes.

Tim Davis, Dollar General Drive By, 2011, 5’41”, Greenberg Van Doren Gallery

Amy Granat, Landscape Film, 2009, 8’45”, Galerie Eva Presenhuber, Galerie Kamm

Laurent Grasso, 1619, 2007, 7’30”, Sean Kelly Gallery

Lorraine O’Grady, Landscape (Western Hemisphere), 2011, 18′, Alexander Gray Associates

Michele Oka Doner, A Walk on the Beach, 2011, 7’10”, Marlborough Gallery

Jennifer Steinkamp, Orbit 11, 2011, 2’47”, Lehmann Maupin

Tracey Emin, Sometimes the Dress is Worth More Money than the Money, 2000/2001, 4′, Lehmann Maupin

9pm Dancer

The latest film by Miami-based artist Dara Friedman, ‘Dancer’ turns Miami’s street corners into a stage. Filming its performers from a slow-moving van and simultaneously transmitting an upbeat soundtrack into various neighborhoods, passersby appear to be breaking into dance.

Dara Friedman, Dancer, 2011, 25′ (screened twice), Gavin Brown’s enterprise

Dara Friedman - Dancer 2011

Friday December 2 

2-2.30pm ART SALON

Art Video Talk: ‘Dancer’

Dara Friedman, Artist, Miami in converstation with David Gryn, Founder of Artprojx & Curator of Art Video.

Location: Miami Beach Convention Center Showguide

8pm Americania — Total running time approximately 42′

Setting the scene for ‘Americania’ in Miami Beach, the selection of short films was inspired by Martha Rosler’s one-minute film ‘God Bless America.’ The program offers a distinctive window onto the United States and the multi-faceted reactions towards the country by various artists.

Martha Rosler, God Bless America, 2006, 1′, Galleria Raffaella Cortese, Galerie Christian Nagel

Neil Hamon, Invasion, 2008, 5’30”, Galeria Leme

Mungo Thomson, Untitled (TIME), 2010, 2’31”, Gavlak Gallery

Slater Bradley, Boulevard of Broken Dreams, 2009, 11’30”, Team Gallery

Tony Tasset, I am U R Me, 1998, 33”, Kavi Gupta Gallery

Jordi Colomer, What Will Come: The Hamptons, 2011, 4’40”, Galería Juana de Aizpuru, Meessen De Clercq

Marilyn Minter, I’m not much, but I’m all I think about, 2011, 3’51” | Salon 94

Yael Bartana, Tuning, 2001, 2′ | Galleria Raffaella Cortese

Laurel Nakadate, American Gothic, 2006, 2’42” | Leslie Tonkonow Artworks + Projects

Ryan McGinley - Entrance Romance (It felt like a kiss)

9pm  Music and Dance — Total running time approximately 40′

The program consists of a selection of films that play on the themes of music and dance, mesmerizing and capturing its audience. The videos share a simplicity, a joie de vivre and an engagement that allow the viewer to observe the ordinary through extraordinary means.

Rashaad Newsome, The Conductor, 2005/2010, 6’18”, Marlborough Gallery

Kota Ezawa, Beatles Über California, 2010, 2’03”, Murray Guy

Theaster Gates, Breathing, 2010, 6’58”, Kavi Gupta Gallery

Penny Siopis, Communion, 2011, 5’30”, Stevenson

Ryan McGinley, Friends Forever, 2010, 5′, Team Gallery

Lorna Simpson, Momentum, 2011, 7′, Salon 94

Cory Arcangel, Paganini Caprice No.5, 2011, 3’41”, Team Gallery

Laurel Nakadate, 51/50, 2009, 3’09”, Leslie Tonkonow Artworks + Projects

Saturday December 3 

8pm Painterly — Total running time approximately 55′

This program combines film, animation, sculpture and painting in an intriguing way. The vigorous artists’ gestures correspond with the fluid wonders of digital technology.

Alex Hubbard, Cinépolis, 2007, 2′, Galerie Eva Presenhuber

Matt Saunders, Mirror Lamp, 2011, 14’14”, Blum & Poe, Harris Lieberman

Thomas Julier and Cédric Eisenring, Font màgica de Montjuïc, Art Video Miami Version, 2010, 12’19”, Karma International

Pierre Bismuth, Following Elvis Presley’s Hands in Jailhouse Rock, 2011, 3’12”, Team Gallery

Jacco Olivier, Revolution, 2010, 24′, Victoria Miro Gallery

9pm Brief Features — Total running time: approximately 73′

Brief Features presents works that hold the tension, visual captivation, imagination and quality of a full-length arthouse movie, and then offers a little bit more.

Christian Jankowski, Casting Jesus trailer, 2011, 2’12”, Lisson Gallery

Cristina Lucas, You Can Walk Too, 2006, 9′, Galería Juana de Aizpuru

Brice Dellsperger, Body Double 27 (after ’A Year with 13 moons’), 2010, 8’15”, Team Gallery, Air de Paris

Clemens von Wedemeyer, Occupation, 2001/02, 8′, Galerie Jocelyn Wolff

Camille Henrot, La Songe de Poliphile, 2011, 11’37”, kamel mennour

Ryan McGinley, Entrance Romance (it felt like a kiss), 2010, 3’30”, Team Gallery

Hans Op de Beeck, Sea of Tranquillity, 2010, 29’50”, Galleria Continua

Hans op de Beeck - Sea of Tranquility

ART VIDEO SELECTION: 22 films from the Art Video Nights have been selected by David Gryn / Artprojx to be presented in a continuous loop within specially designed viewing pods. — Total running time approximately 90′

Location: Miami Beach Convention Center, Central Area

Opening Hours: Daily from 12 noon to 8pm, Sunday until 6pm

General Admission ticket includes access to Art Video

Cory Arcangel, Paganini Caprice No.5, 2011, 3’41”, Team Gallery

Pierre Bismuth, Following Elvis Presley’s Hands in Jailhouse Rock, 2011, 3’12”, Team Gallery

Jordi Colomer, What Will Come: The Hamptons, 2011, 4’40”, Galería Juana de Aizpuru, Meessen De Clercq

Tracey Emin, Sometimes the Dress is Worth More Money than the Money, 2000/2001, 4′, Lehmann Maupin

Kota Ezawa, Beatles Über California, 2010, 2’03”, Murray Guy

Theaster Gates, Breathing, 2010, 7′, Kavi Gupta Gallery

Katy Grannan, The Believers, 2010/2011, 9′, Salon 94

Cao Guimarães, Peiote, 2007, 4′, Galeria Nara Roesler

Neil Hamon, Invasion, 2008, 5’30”, Galeria Leme

Alex Hubbard, Cinépolis, 2007, 2′, Galerie Eva Presenhuber

Christian Jankowski, Casting Jesus trailer, 2011, 2’12”, Lisson Gallery

Cristina Lucas, La Liberté Raisonnée, 2009, 4’18”, Galería Juana de Aizpuru

Ryan McGinley, Entrance Romance (it felt like a kiss), 2010, 3’30”, Team Gallery

Marilyn Minter, I’m not much, but I’m all I think about, 2011, 3’51”, Salon 94

Laurel Nakadate, 51/50, 2009, 3’09”, Leslie Tonkonow Artworks + Projects

Rashaad Newsome, The Conductor, 2005/2010, 6’18”, Marlborough Gallery

Martha Rosler, God Bless America, 2006, 1′, Galleria Raffaella Cortese, Galerie Christian Nagel

Penny Siopis, Communion, 2011, 5’30”, Stevenson

Jennifer Steinkamp, Orbit 11, 2011, 2’47”, Lehmann Maupin

Tony Tasset, I am U R Me, 1998, 33”, Kavi Gupta Gallery

Mungo Thomson, Untitled (TIME), 2010, 2’31”, Gavlak Gallery

Clemens von Wedemeyer, Occupation, 2001/2002, 8′, Galerie Jocelyn Wolff

Laurel Nakadate - 51/50

ARTPROJX CINEMA

This exciting Artprojx Cinema project is the first major collaboration with Art Basel Miami Beach, enabling their selected galleries to screen films by artists they represent in this great outdoor cinematic setting. Artprojx Cinema screens, promotes and agents artists’ film and video, working with leading international contemporary art galleries, art fairs, institutes, artists. Forthcoming projects include Artprojx Cinema NY 2012 and Artprojx Cinema London 2012. www.artprojx.com

PICTURE THIS

Picture This develop artists film and video through commissions and exhibitions. They provide specialist exhibition and technical services to artists, art galleries and museums. All video works for Art Basel Miami Beach were mastered to high definition and DVD by Picture This. Picture This, 40 Sydney Row, Spike Island, Bristol BS1 6UU T/F: 0117 925 7010 / 0117 925 7040 Picture This

David Gryn / Artprojx

1 Hillside Gardens

London N6 5SU

United Kingdom

david@artprojx.com

http://www.artprojx.com

http://davidgryn.wordpress.com

+447711127848

PUTTY HILL at the ICA 17-30 June

Putty Hill

Putty Hill at the ICA Institute of Contemporary Arts, 
The Mall, London SW1Y 5AH 
17 June 2011 - 30 June 2011 
£10 / £8 Concessions / £7 ICA Members.

A young man dies of a heroin overdose
in an abandoned house in Baltimore. 
On the eve of his funeral, family and 
friends gather to commemorate his life. 
Their shared memories paint a portrait of 
a community hanging in the balance, 
skewed by poverty, city living, and 
a generational divide, united in their 
pursuit of a new American Dream.

The follow-up to Matt Porterfield's 
acclaimed directorial debut Hamilton, 
Putty Hill reveals another cross-section 
of Baltimore's dispossessed. 

Combining documentary-style interviews 
with narrative techniques, Putty Hill is 
a realist film presented in a wholly unique way. 
Improvised dialogue blends with script to create 
a natural, understated, and focused picture of a 
community on the fringes of society.

Dir Matt Porterfield, USA, 2011, 87mins

SPECIAL ARTPROJX OFFER!
GET £2 OFF FULL PRICE PUTTY HILL TICKETS
WHEN QUOTING ‘ARTPROJX MAILING LIST'
FOR THE DURATION OF THE RUN. 
OFFER ONLY VALID OVER PHONE OR IN PERSON. 

ICA BOX OFFICE 0207 930 3647 WWW.ICA.ORG.UK

DIRECT LINK FOR BOOKING 
http://www.ica.org.uk/29255/Film/Putty-Hill.html
 
DAVID GRYN
ARTPROJX
david@artprojx.com
http://www.artprojx.com
See the Art Video section at http://www.artbaselmiamibeach.com/
http://www.twitter.com/artprojx