David Gryn / Artprojx

Film and Sound at Art Basel in Miami Beach 2015

In ABMB, Art Basel, Art Basel in Miami Beach, Daata Editions, David Gryn, Garth Greenan, Howardina Pindell, Miami Beach, New World Symphony, SoundScape Park, Uncategorized on 25/11/2015 at 3:36 pm


Screen Shot 2015-11-15 at 15.04.12

Howardina Pindell, Free, White and 21, 1980. Garth Greenan Gallery

Our Hidden Futures
Film at Art Basel in Miami Beach 2015
The Artists Surround Sound Project
Curated by David Gryn of Daata Editions and Artprojx
SoundScape Park, New World Center, Miami Beach
December 2-5, 2015 from 6pm



Dates and Schedule:

Wed, Dec 2
9am New World Symphony Insights Talk with David Gryn and artists Sofie Alsbo, Alice Jacobs, Jillian Mayer, Mariele Neudecker and moderated by Dennis Scholl.

6pm Surround sound work by artist Mariele Neudecker

Artist Film program
8pm Fairy Doll; 58 mins. Artists: Rineke Dijkstra, Kenyatta A.C. Hinkle, Carla Chaim, Anna K.E. & Florian Meisenberg, Anna Maria Maiolino, Howardena Pindell.

9pm Speak Easy; 78 mins. Artists: Simone Leigh & Liz Magic Laser with Alicia Hall Moran, Jumana Manna, JoAnn Verburg, Melanie Smith with Rafael Ortega, Marinella Senatore, Catherine Sullivan, Ann-Sofi Sidén in collaboration with Jonathan Bepler.

Thurs Dec 3
6pm Surround sound work by artist Sofie Alsbo

Artist Film program
9pm Afterward via Fantasia; 60 mins. Artists: Catherine Sullivan with George Lewis and Sean Griffin,

10pm Sea of Silence; 56 mins. Artists: Marnie Weber, Camille Henrot, Shirazeh Houshiary, Cauleen Smith, Minnette Vári, Tracey Emin, Nikki S. Lee.

Fri, Dec 4
6pm Surround sound work by artist Camille Norment

Artist Film program
8pm Duet; 45 mins. Artists: Janet Biggs, Zanele Muholi, Nicola Thomas, Talia Chetrit, Sue de Beer.

9pm Snow Job; 62 mins. Artists: Berna Reale, Shana Moulton, Mary Reid Kelley, Barbara Hammer, Diana Thater, Chloe Wise & Claire Christerson, Ida Applebroog, Breda Beban, Judith Hopf.

Sat, Dec 5
2pm Salon talk – The Artists Surround Sound Project
Moderator: David Gryn, artists: Sofie Alsbo, Alice Jacobs, Mariele Neudecker, Camille Norment

6pm Surround sound work by artist Alice Jacobs

Artist Film program
8pm Vanishing Point; 58 mins; Artist: Breda Beban, María Fernanda Cardoso, Janet Biggs, Fritzia Irizar, Suzanne Harris, Anna Barham, Guan Xiao, Susanne M. Winterling, Pia Camil, Cornelia Parker.

9pm Bikini Carwash; 52 mins; the seven works in this program will explore the great outdoors, capturing urban and rural encounters. Artists: Liz Cohen, Marnie Weber, Jaki Irvine, Micol Assaël, Kristin Oppenheim, Cauleen Smith, Milena Bonilla.


Art Basel in Miami Beach in 2015 http://artbasel.com/miami-beach

David Gryn / Artprojx blog https://davidgryn.wordpress.com/

New World Symphony http://www.nws.edu/events-tickets/concerts/insights-artists-film-and-sound-with-david-gryn/

Resistance and Persistence at Ingleby Gallery

In Agnes Martin, Cy Twombly, Francesca Woodman, Ingleby Gallery, Jane Bustin, Morandi, Richard Serra, Sean Scully, Uncategorized on 22/11/2015 at 3:03 pm
3D work by Jane Bustin

Amber Notes by Jane Bustin, 2015

Resistance and Persistence

Ingleby Gallery

28 November 2015 – 30 January 2016

Agnes Martin, Cy Twombly, Edmund de Waal, Francesca Woodman, Giorgio Morandi, James Hugonin, Jane Bustin, Rachel Whiteread, Richard Forster, Richard Long, Richard Serra, Roger Ackling, Sean Scully.


Resistance and Persistence takes its title from Sean Scully’s essay on the mid 20th century Italian painter Giorgio Morandi. Morandi is a contradictory artist: deliberately understated yet deeply engaging; always small of scale and yet somehow heroic. Scully describes his encounter with a particular Morandi painting in the collection of Tate London:

“When I was a student passing through the halls of the Tate Gallery in London, looking for role models, I would consistently pass a typically small painting by Morandi. It seemed to upset and disturb everything else that was going on. It was as if it was participating in the Modernist dialogue, since its spirit was twentieth-century, and clearly painted after the discovery of abstraction, but, then again, stubbornly refusing to participate with appropriate enthusiasm… One day I’d see it and I’d think, this is great. It’s really weird. And then another day I’d see it and I’d think to myself that he was an idiot. And so was the Tate for putting it up all the time. And then another day I’d see it, and I just didn’t know what to think. It wasn’t exciting, yet it was exciting. Exciting in its resistance, in its subversiveness.”

These qualities provide the starting point for an exhibition that considers the idea of artistic positions that have been hard won. At its heart are a group of wonderful Morandi paintings, two of which haven’t been seen in public for over 50 years. Alongside these are works by a diverse group of artists, but with a connectedness in that they all tend to work in series, with one work building on the last, often against the grain of the time and place in which they have found themselves. There’s a stubbornness to this, perhaps, a sense of the single-minded pursuit, but there’s also a leaning towards emotional engagement, and therefore a kind of intimacy.

In Resistance and Persistence, Morandi’s paintings are joined by an early film by Richard Serra, photographs by Francesca Woodman and Cy Twombly; drawings by Richard Forster; sculptural works by Richard Long, Rachel Whiteread and Roger Ackling; graphics by Agnes Martin; installations by Edmund De Waal and Jane Bustin, and paintings by James Hugonin and Sean Scully.


Ingleby Gallery, 15 Calton Road, Edinburgh EH8 8DL. Scotland

5 Questions with Daata Editions – Elephant Magazine

In Art Basel, Charles Richardson, Chloe Wise, Daata Editions, daataeditions, David Blandy, David Gryn, Elephant, Uncategorized, Video on 21/11/2015 at 10:59 am

5 Questions with Daata Editions


Text by Emily Steer

Daata Editions is an online platform that commissions digital artists’ editions—mostly video-, sound- and web-based. Season One brought together eighteen artists, who each created six pieces of work, last month joining two different collections in completion; Germany’s Julia Stoschek Collection and LA’s Hammer Museum.

Season One featured the work of; Ilit Azoulay, Helen Benigson, David Blandy, Matt Copson, Ed Fornieles, Leo Gabin, Daniel Keller & Martti Kalliala, Lina Lapelyte, Rachel Maclean, Florian Meisenberg, Takeshi Murata, Hannah Perry, Jon Rafman, Charles Richardson, Amalia Ulman, Stephen Vitiello and Chloe Wise.

Here, five of the artists discuss the purpose of digital platforms in the present art world and the future of art online.

When did you start work with Daata Editions, and what do you feel online platforms can offer to digital artists?

Chloe Wise: I began working with Daata Editions for their first iteration–or season of artists I suppose–about a year ago now. For an emerging artist, especially for an artist working with digital media, it can be hard to find viewership, a consumer market, a collector base, the funds with which to produce work, and a comprehensive placement within the art world for oneself. Working with Daata Editions not only enabled the artists, including myself, to create work that otherwise may not have been made, but to circulate this work in the context of art fairs, screenings both indoors and outdoors, in a gallery setting as well as online and placing the works into great collections and institutions. This visibility and accessibility is imperative to digital work, which is in a state of growth and change, and is so easily dismissed in the constant flow of images and videos on the internet.

As a digital artist, do you consider the fit of your work on the market, or is this a secondary concern? 

Florian Meisenberg: When creating either a digital or analogue art work, I don’t start by thinking about it fitting into the market. Generally, my motivation to create art is not dependent on its degree of ‘fitability’ with anything. Although sometimes I feel embarrassed that I can’t sign my videos.

Have you felt the reception towards digital work change in any way since you began your practice?  

David Blandy: When I started exhibiting, the digital world of computing, gaming and the Internet were marginal cultural interests, the preserve of geeks like me. The Internet was dial up, computer games were making their first experiments in 3D graphics, and VHS was the standard exhibition format for video. So my work thinking about and using digital culture, using backgrounds from video games and performances inside virtual spaces, were seen as pretty alien from mainstream culture and were probably pretty mystifying to an artworld that was largely computer illiterate. Now the digital is central to our everyday visual culture–CGI on tv, adverts, films, every photo is computer manipulated, only occasional heads unbowed at train stations, contemplating the sky rather than their phone.

Do you feel that your work exists in accordance with the technology it was created for? Or is the material something that could be transferred to different tech over the years?

Matt Copson: My work exists in accordance but is not enslaved by current technology. I’m sure things would change radically with any contextual shifts, be they technological, political or financial but hopefully my work isn’t just a symptom of its time. Most of the more digital aspects of my work and installations are basic or quite a primitive use of more complex programs. I don’t care for professionalising my skills, rather I enjoy being an enthusiastic amateur with a level of distance from the technology I’m using. I like the idea of using photoshop in the same way I’d carve a sculpture with a chainsaw and sledgehammer. I see no reason why works couldn’t be transferred to different technology over the years. But my principal concern, of course, is in how they are shown/heard in the present.

What do you see being the biggest driver of digital art in the future?

Helen Benigson: I am sure the continuous and accelerating trend of the public giving up personal data to big companies will lead to some very interesting work being made. However, I also feel that as the body becomes even more exploited through medical and visceral mediation online, artists will necessarily need to drive a new concept of what intimacy, privacy and the corporeal looks like. I don’t think there has ever been more of a crucial time to bring art and technology together, than the current climate we are living in. There is increasingly a general blurring of boundaries and a development of terms such as the ‘creative’ or ‘cultural producer’, via the recruitment of artists into the technology industry which has a more general emphasis on the idea of creativity at work across many different industry sectors. Many of the concepts that have shaped the working culture in the tech industry (such as ‘play’, live-work, loft spaces and temporary contracts) are derived from artists’ working habits, like Second Home and its relationship to the Serpentine Pavilion. It is essential to understand these messy overlaps in order to try to decipher how and where art will move to as artists move away from big cities and increasingly have to work more online in order to survive.

All works: 2015, Courtesy Daata Editions


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