David Gryn blog

Strangelove interview with David Gryn and Terry Smith

In ABMB, Art Basel, Artprojx, centralsaintmartins, daataeditions, David Gryn, Film, Terry Smith, Video, Workinprogress on 07/03/2015 at 12:09 pm


An interview with David Gryn (Artprojx) and Terry Smith (workinprogress) about their collaboration on the Strangelove Festival.

How did your involvement with CSM on the Strangelove Festival come about?

DG. Terry and I had an initial meeting with Mark Dunhill where we all expressed our hopes to find ways to empower and unite students from across the disciplines and courses at CSM, as well as shining a light on what happens inside the college for those on the outside.

TS. It was a good basis for a collaboration, Mark was very keen to find a project that brought all of the college together under one umbrella. This made sense for David and I who have been talking about an artist’s film and video festival for a number of years.

I understand that your own practice relates to film and video work – can you tell us a bit about your background in moving image?

DG. For over 20 years I have been engaged with the promotion and curation of artists’ moving image generally in the context of the cinema, working with leading galleries, museums, art fairs and artists worldwide.

TS. Well, I come from the point of view of an artist.
I have been working in moving image since I was a student back in the late 70s but it was only in 1999 that I picked up the medium again. I am currently working on projects that combine moving image with live music and performance. But I don’t see myself as a video artist. I see myself as an artist that trespasses on other territories.

How did you select the artists whose work is included in your curated screening programmes?

DG. The majority of works are by artists I selected for the most recent Film – Art Basel in Miami Beach 2014. The central starting point was for artists’ work that engages with our everyday, static surfing, and obsessive interaction with the natural language and enamour of all things digital and internet, and works that are generally playful.

TS. Although we have given titles and categories to different screening programmes, I want the viewer to treat them with pinch of salt. My choices reflect work that I am curious about, work that has made an impression on me, and work I am jealous of and wish I had made.

Moving image is an important part of virtually every programme area across CSM embracing fashion communication, graphics, animation, screen acting and directing, used in a myriad of ways and not confined to fine art moving image practice. How did that spread impact upon your ideas for the festival?

DG. The festival was intended to show or enable students to take reference from every available source – animation, painting, fashion, dance, performance, sculpture, collage, architecture, online, music, cinema, culture, history, philosophy, language, science and much much more. In essence film is a place where all our learning and experience combines into a powerful collaborative outcome. This was the essence of this festival, to encourage the college to come together to enable greater learning, collaboration, and empowerment via a medium we all use and observe daily in our work, creativity and life.

TS. Yes, I agree

Do you have a must-see event?

DG. Obviously the Armchair Surfers Digital Revolutionaries screening programme – as the digital revolutionaries are all of us as we use, observe, interrogate this ever developing medium that extends, entrances, and baffles us in equal measure. The two films of Jennifer Reeder are a wonderful, engaging, moving and witty insight into the world of post teenage womanhood. The premier of Scott Reeder’s Moon Dust, a feature film that took the artist over 10 years to make. And Beatrice Gibson’s F for Fibonacci, which was premiered during the recent Frieze Art Fair at the Laura Bartlett Gallery. There is also The Music of Regret by Laurie Simmons that I first premiered (with Salon 94 and Performa) in 2006, this features Meryl Streep and the Alvin Ailey II Dance Company. It will be exciting to see this again with different and somewhat older eyes.

TS. I am looking forward to the event on the Monday 16 March, where the screen writer and director Tony Grisoni presents For the Dark. I think this will be a stunning experience and a great way to open the festival. I like the fact that the idea began over a coffee in a cafe in Stoke Newington. I am looking forward also to the Armchair Surfers because a lot of the work is new to me. Of the screenings I chose, I think they are all must see works. We also asked Vassiliki Tzanakou and SHAPE to make their own choices. I worked with SHAPE on the selection and I am looking forward
to seeing the work of Katherine Araniello projected, who is an artist who happens to be disabled. But I guess I personally am looking forward to some of the events that have been generated from staff at CSM.

Strangelove London website – for upcoming and future festival in London and worldwide



STRANGELOVE MOVING IMAGE FESTIVAL 2015 devised and programmed in collaboration with Central St Martin’s 

David Gryn

Artprojx worldwide

Curator, Art Basel in Miami Beach Dec 2015

Daata Editions launching May 2014





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