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Archive for the ‘Art Basel’ Category

David Gryn: Sound and Vision

In Alimantado, Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Art Fair, Daata, Daata Editions, daataeditions, David Gryn, Film, keren cytter, Miami, Miami Beach, Uncategorized, Wilhelm Sasnal on 24/11/2016 at 11:50 am

Returning to curate the Art Basel Miami Beach Film program for a sixth year, David Gryn explains why music has inspired his choices, and how audiences can catch a glimpse of the ‘Best Dressed Chicken in Town’.

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Each year, as evening darkens the skies over Art Basel Miami Beach, visitors gather on the lawns of SoundScape Park to experience video works from some of the world’s most exciting artists. Sharing picnics, drinks, or simply being absorbed by art, they sit beneath the towering 7,000 square foot projection wall of the New World Center as it displays a program of films carefully chosen by curator David Gryn.

“My selections are quite instinctive,” says Gryn. “I am often attracted by artworks that affect me like music does; a thud in my chest, reverberations through my body, tingles down my neck and spine.” Fittingly then, music is the theme of this year’s program. “As [the New World Center is] a concert venue, music is inherent to the place we show the work and contextually it has a strong resonance. Asking galleries to submit films which engage with music in some way felt like a natural choice.”

Through this year’s theme, Gryn hopes to create a larger-than-life show to excite and engage the broadest possible audience. “Music is something universal. When you have dialogue in a certain language, you often exclude people outside it. Music, like art, crosses that divide – a sort of abstract language that has its own voice and says something about the human condition.”

Be enveloped by art

The program includes a set of 28 short films screened under the title Best Dressed Chicken in Town. “This was named after the 1970s reggae track by Doctor Alimantado, which has long inspired me. The idea behind it was to combine artworks using music and sound which, over the program’s two hour span, swell to a crescendo,” Gryn explains. And though he will not be drawn on a favorite this year (“I picked them, so they’re all my favorites!”), he singles out Terrorist of Love by Keren Cytter as being a film which never fails to make him smile, while Wilhelm Sasnal’s Kiss is “utterly wonderful.”

In addition to the screening of films, this year also heralds the third edition of Surround Sound, a specially commissioned program of sound works designed to take full advantage of SoundScape Park’s 160 speaker surround sound system. “I view my role as that of a facilitator. I aim to serve the artwork, the artist, and the gallery well by presenting pieces which will have the most resonance with the audience in the setting that we have.”

The communal act of experiencing art in this way is something special, says Gryn. “You get a sense of excitement, something you can palpably feel. You really do see an audience being enveloped by art. That’s what this platform achieves – and it encourages galleries, their artists, and a wider audience to take time with mediums that often don’t get much of a look in at events like this. There’s not another experience quite like it in the context of an art fair. Period.”

 

Taken from an Art Basel Interview https://www.artbasel.com/post/detail/2653

Film and Sound at Art Basel in Miami Beach 2016 – Program

In ABMB, Art, Art Basel, Art Basel in Miami Beach, Art Fair, artists, Artprojx, Best Dressed Chicken in Town, Daata, Daata Editions, David Gryn, Film, Film and Video, Film Library, Miami, Miami Beach, New World Center, New World Symphony, SoundScape Park, Uncategorized on 23/11/2016 at 10:18 am

 

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Film & Sound at Art Basel in Miami Beach 2016. 

Curated by David Gryn, Director of Daata Editions. 

Nov 30 – Dec 3. 

Soundscape Park, New World Symphony Center, Miami Beach.

Details:

Weds Nov 30

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

Best Dressed Chicken in Town – a compilation of artworks. 

Tromarama, Psylocibin, 2010, 51ʺ; Edouard Malingue.
Ana Mendieta, Anima, Silueta de Cohetes (Firework Piece), 1976, 2ʹ23ʺ; Lelong
Anri Sala, Mixed Behaviour, 2003, 8ʹ19ʺ; Hauser & Wirth.
Derrick Adams with Ramon Silva, My Jesus Piece, 2014, 2ʹ38ʺ; Rhona Hoffman.
Samson Young, The Coffee Cantata (Institute of Fictional Ethnomusicology), 2015, 6ʹ06ʺ; Edouard Malingue.
Kudzanai Chiurai, Moyo, 2013, 5ʹ33ʺ; Goodman Gallery.
Edgardo Aragón, La encomienda, Perú, 2013, 4ʹ45ʺ; mor charpentier.
Luther Price, Singing Biscuits, 2006, 4ʹ; Callicoon.
Catharina van Eetvelde (with music by To Rococo Rot), Glu, 2007, 2ʹ28ʺ; Greta Meert.
Ara Peterson, Alsatian Darn, 2011, 4ʹ17ʺ; Ratio 3.
Matt Copson, Sob Story, 2016, 5ʹ; High Art.
Martin Creed, Work No. 2656 Understanding, 2016, 3ʹ11ʺ; Hauser & Wirth.
Jillian Mayer, I am Your Grandma, 2011, 1ʹ3ʺ; David Castillo.
Kovásznai György, Memory of the Summer of ‘74, 1974, 9ʹ15ʺ.
Tromarama, Serigala Militia, 2006, 4ʹ22ʺ; Edouard Malingue.
Kim Gordon, Proposal for a Dance, 2012, 12ʹ; 303 Gallery.
Li Shurui and Li Daiguo, The Shelter: All Fears Come from the Unknown Shimmering at the Edge of the World, 2012/2016, 3ʹ09ʺ; White Space Beijing.
Adam Shecter, Study for Satellites 4 (Train), 2016, 1ʹ52ʺ; 11R.
Brian Alfred, Chromacity, 2016, 4ʹ17ʺ; Ameringer McEnery Yohe.
Dashiell Manley, It and another other, 2015, 3ʹ33ʺ; Jessica Silverman.
Haroon Mirza, Adhãn, 2009, 4ʹ54ʺ; Lisson.
Zak Ové, A Land So Far, 2016, 6ʹ30ʺ; Vigo.
Cabelo, Itamambuca Dub, 2014, 4ʹ; Marilia Razuk.
Lena Daly, Trix, 2016, 5ʹ; Various Small Fires.
Nate Boyce, Repossesion Seqeunce II, 2016, 4ʹ30ʺ; Altman Siegel.
Tomislav Gotovac, Ella, 1966, 3ʹ25ʺ; Gregor Podnar.
Rodney Graham, A Little Thought, 2000, 3ʹ54ʺ; Hauser & Wirth.
Keren Cytter, Terrorist of Love, 2016, 3ʹ9ʺ; Nagel Draxler (A Free Downloadable Artwork commissioned by Daata Editions & Artspace)

10pm

Double Bill: Rita Ackermann and Christian Marclay

Rita Ackermann, Movement as Monument, 2011, 22ʹ30ʺ; Hauser & Wirth
Christian Marclay, Mixed Reviews (American Sign Language), 1999/2001, 30ʹ; Paula Cooper

Thurs Dec 1

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

Best Dressed Chicken in Town. A compilation of artworks by Ana Mendieta, Anri Sala, Derrick Adams with Ramon Silvera, Samson Young, Kudzanai Chiurai, Edgardo Aragón, Luther Price, Catharina van Eetvelde, Ara Peterson, Matt Copson, Martin Creed, Jillian Mayer, György Kovásznai, Tromarama, Kim Gordon, Li Shurui & Li Daiguo, Adam Shecter, Brian Alfred, Dashiell Manley, Haroon Mirza, Zak Ové, Cabelo, Lena Daly, Nate Boyce, Tomislav Gotovac, Rodney Graham, Keren Cytter.

10pm

New Parthenon: works by artists: Rashid Johnson, Ain Bailey/Sonia Boyce, Anna Grenman, Alex Prager, Penny Siopis.

Rashid Johnson, The New Black Yoga, 2011, 10ʹ57ʺ; Hauser & Wirth.
Ain Bailey, Sonia Boyce, Oh Adelaide, 7ʹ10ʺ.
Anna Grenman, Irminsul, 2016, 5ʹ.
Alex Prager, La Grande Sortie, 2015, 10ʹ; Lehmann Maupin.
Penny Siopis, The New Parthenon, 2016, 15ʹ26ʺ; Stevenson.

Fri Dec 2 

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

Best Dressed Chicken in Town. A compilation of artworks by Ana Mendieta, Anri Sala, Derrick Adams with Ramon Silvera, Samson Young, Kudzanai Chiurai, Edgardo Aragón, Luther Price, Catharina van Eetvelde, Ara Peterson, Matt Copson, Martin Creed, Jillian Mayer, György Kovásznai, Tromarama, Kim Gordon, Li Shurui & Li Daiguo, Adam Shecter, Brian Alfred, Dashiell Manley, Haroon Mirza, Zak Ové, Cabelo, Lena Daly, Nate Boyce, Tomislav Gotovac, Rodney Graham, Keren Cytter.

10pm

Double Bill: Liliana Porter and Alfredo Jaar

Alfredo Jaar, Muxima, 2005, 36ʹ; Lelong, Goodman Gallery
Liliana Porter, Actualidades/Breaking News, 2016, 22ʹ47ʺ; Sicardi

Sat Dec 3

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

Best Dressed Chicken in Town. A compilation of artworks by Ana Mendieta, Anri Sala, Derrick Adams with Ramon Silvera, Samson Young, Kudzanai Chiurai, Edgardo Aragón, Luther Price, Catharina van Eetvelde, Ara Peterson, Matt Copson, Martin Creed, Jillian Mayer, György Kovásznai, Tromarama, Kim Gordon, Li Shurui & Li Daiguo, Adam Shecter, Brian Alfred, Dashiell Manley, Haroon Mirza, Zak Ové, Cabelo, Lena Daly, Nate Boyce, Tomislav Gotovac, Rodney Graham, Keren Cytter.

10pm

Love Songs – Four Films by Wilhelm Sasnal

Wilhelm Sasnal, Love Songs, 2005, 10ʹ02ʺ; Anton Kern.
Wilhelm Sasnal, Kiss, 2002–2003, 4ʹ51ʺ; Anton Kern.
Wilhelm Sasnal, Developing Tank, 2015, 14ʹ22ʺ; Anton Kern.
Wilhelm Sasnal, The River, 2005, 23ʹ10ʺ; Anton Kern.

Daily (Nov 30 – Dec 4)

Miami Beach Convention Center Film Library:

In addition to the outdoor program, visitors will be able to individually (touch) screen over 50 works by artists such as Stephen Dean, Edith Dekyndt, Maggie Lee, Gabriel Lester, Shelly Nadashi, Sophie Nys, João Vasco Paiva, Betye Saar, Jason Simon, Su-Mei Tse and Tuo Wang, as well as all the artist listed in the outdoor programs.

The Film Library is next to the Magazine area and opposite the Salon and Conversations auditorium.

Talks:

Tues Nov 29. 11am-12.30pm

Insights at New World Center: The Music in Film & Sound, Art Basel in Miami Beach
Featuring: David Gryn, Kathryn Mikesell, Molly Palmer and John Kieser
New World Center, SunTrust Pavilion. RSVP/Details & Tickets: www.nws.edu/insights

Sun Dec 4. 2-3pm

Artist Talk – Conversations and Salon: Art Basel’s 2016 program in Miami Beach Convention Center, programmed by Mari Spirito. 

The Artist as Composer
Molly Palmer, Artist, London; Susannah Stark, Artist, London; Kathryn Mikesell, Founder, The Fountainhead Residency and Studios, Miami; Rachel Mason, Artist, Los Angeles. Moderator: William J. Simmons, Lecturer in Art History, City College of New York, New York. With an introduction by David Gryn, Curator of Art Basel’s Film sector and Founder of Daata Editions and Artprojx, London. Art Basel Press Release

Some More Links:

Art Basel Miami Beach

New World Symphony 

Time Out Miami

papermag MEGA guide

Art Basel Film Trailer

Fountainhead Residency

Molly Palmer

Daata Editions

 

The Artist as Composer – in Conversations and Salon series: Art Basel in Miami Beach 2016

In Art, Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Art Salon, Artists Talk, Daata, daataeditions, Miami, Miami Beach, Music, New World Center, New World Symphony, Sound, SoundScape Park, talk, Uncategorized on 16/11/2016 at 5:45 pm
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molly palmer, fountain, 2016

Conversations and Salon: Art Basel’s 2016 program in Miami Beach. Art Basel’s Conversations and Salon series will bring together celebrated artists, galleries, art historians, writers, curators, museum directors and collectors from across the globe, including Alexandre Arrechea, Wafaa Bilal, Francesco Clemente, Mark Dion, Lady Bunny, Julio Le Parc, Glenn Ligon, Tony Matelli, Jill Magid, Hans Ulrich Obrist, Damián Ortega, Bernardo Ortiz, Molly Palmer, Howardena Pindell, HE Sheikha Hoor Al Qasimi, Howard Rachofsky and Sun Xun among others.

Sunday, December 4, 2016
2pm to 3pm | Artist Talk | The Artist as Composer
Molly Palmer, Artist, London; Susannah Stark, Artist, London; Kathryn Mikesell, Founder, The Fountainhead Residency and Studios, Miami; Rachel Mason, Artist, Los Angeles. Moderator: William J. Simmons, Lecturer in Art History, City College of New York, New York. With an introduction by David Gryn, Curator of Art Basel’s Film sector and Founder of Daata Editions and Artprojx, London.

The Conversations and Salon talks are programmed by Mari Spirito, Founding Director, Protocinema, Istanbul/New York.

 

info on all the talks art basel press release

notes.

The Art Basel in Miami Beach Film & Sound program in Soundscape Park will be Free to attend on Wednesday, November 30 thru Saturday, December 3. The surround sound program starts at 6pm until 8pm and repeats each of the days, this is a compilation of sound artworks, played nightly during the fair from 6pm until 8pm, featuring artists commissioned to create or reform work into surround sound installations. This year’s artists include: Molly Palmer, Sussanah Stark, Ain Bailey, Zoe Buckman, Jonathan Montague and A.K. Burns.

The Film program starts at 8pm each night with a two hour compilation, repeated daily, of 28 moving image artworks screened under the title ‘Best Dressed Chicken in Town’. Artists include: Ana Mendieta, Anri Sala, Derrick Adams with Ramon Silvera, Samson Young, Kudzanai Chiurai, Edgardo Aragón, Luther Price, Catharina van Eetvelde, Ara Peterson, Matt Copson, Martin Creed, Jillian Mayer, György Kovásznai, Tromarama, Kim Gordon, Li Shurui & Li Daiguo, Adam Shecter, Brian Alfred, Dashiell Manley, Haroon Mirza, Zak Ové, Cabelo, Lena Daly, Nate Boyce, Tomislav Gotovac, Rodney Graham, Keren Cytter.

With a title borrowed from a classic 1970s reggae song by Jamaican dj/singer Doctor Alimantado, this year’s short film program focuses on a selection of international artists who engage with music in a multitude of ways. All the films in this varied and exciting program demonstrate the power of music to attract an audience, keep it engaged, elicit suspense and tug at the heartstrings. Similar to classical symphony works, the order of the films builds up to a crescendo creating an awe-inspiring magic derived from the works in their entirety.

Each night at 10pm there are uniquely featured Film program’s including a Rita Ackermann, Christian Marclay Double Bill on Wednesday, November 30, and a Liliana Porter and Alfredo Jaar Double Bill on the Friday, December 2.

On Thursday, December 1 a feature titled New Parthenon, with works by artists: Ain Bailey & Sonia Boyce, Anna Grenman, Rashid Johnson, Alex Prager, Penny Siopis.

The final screening titled Love Songs is on Saturday, December 3 will include four short films by Polish artist Wilhelm Sasnal.

All the works have a strong relationship with music.

TIME OUT

https://www.timeout.com/miami/things-to-do/art-basel-miami-2016-film

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INSIGHTS: THE MUSIC in FILM & SOUND – ART BASEL in MIAMI BEACH
NEW WORLD CENTER

Tuesday, November 29, 11:00 am
New World Center, SunTrust Pavilion
Coffee, tea and light pastries will be served
Free with RSVP/ticket

Featuring David Gryn, Kathryn Mikesell, Molly Palmer and John Kieser

RSVP/Tickets: www.nws.edu/insights

David Gryn, the curator of Art Basel’s Film & Sound programming and Director of Daata Editions in conversation with Kathryn Mikesell, founder of The Fountainhead Residency & Studios, Miami, and Molly Palmer, a London based artist commissioned for the Surround Sound program and will be resident at Fountainhead. Hosted by John Kieser, Executive Vice President and Provost of the New World Symphony.

A conversation around the curation of this years Film and Sound programming for Art Basel in Miami Beach and its relationship to music, the New World Center, collaborations between the various organisations, artists, residencies, curators and future plans and aspirations. There will be a chance to join in the conversations and ask questions.

For more information on the 2016 Art Basel events in SoundScape Park: http://www.nws.edu/events-tickets/art-basel-at-soundscape-park/.

 

The Best Dressed Chicken in Town – Film and Sound at Art Basel in Miami Beach 2016 – curated by David Gryn

In Art Basel, Art Basel in Miami Beach, Art Fair, Daata Editions, David Gryn, Film, Miami, Miami Beach, Papermag, Uncategorized, Video on 01/11/2016 at 4:30 pm
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Jillian Mayer, I am your Grandma, 2011 (courtesy the artist and David Castill0 Gallery)

Best Dressed Chicken in Town curated by David Gryn, Director of Daata Editions

A compilation of artworks by Ana Mendieta, Anri Sala, Derrick Adams with Ramon Silvera, Samson Young, Kudzanai Chiurai, Edgardo Aragón, Luther Price, Catharina van Eetvelde, Ara Peterson, Matt Copson, Martin Creed, Jillian Mayer, György Kovásznai, Tromarama, Kim Gordon, Li Shurui & Li Daiguo, Adam Shecter, Brian Alfred, Dashiell Manley, Haroon Mirza, Zak Ové, Cabelo, Lena Daly, Nate Boyce, Tomislav Gotovac, Rodney Graham, Keren Cytter.

Screenings daily at 8pm on Weds Nov 30, Thurs Dec 1, Fri Dec 2, Sat Dec 3.

Film & Sound at Art Basel in Miami Beach 2016

Soundscape Park, New World Symphony Center, Miami Beach

artbasel.com/miami-beach/film

With a title borrowed from a classic 1970s reggae song by Jamaican dj/singer Doctor Alimantado, this year’s short film program focuses on a selection of international artists who engage with music in a multitude of ways. All the films in this varied and exciting program demonstrate the power of music to attract an audience, keep it engaged, elicit suspense and tug at the heartstrings. Similar to classical symphony works, the order of the films builds up a crescendo to create an awe-inspiring magic derived from the works in their entirety.

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Tromarama, Serigala Militia, 2006 (courtesy the artists and Edouard Malingue)

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Papermag Mega Guide to Art Basel Miami Beach 2016

More info from the Art Basel Press Release:

Film: Art Basel announces details of its 2016 Film program in Miami Beach.

From November 30 through December 4, 2016, Art Basel will present a premier program of over 50 film and video works by some of today’s most exciting artists from North and South America, Europe, Asia and Africa.

Selected from the show’s participating galleries by David Gryn, Director of Daata Editions and Artprojx, this year’s program will include ‘Muxima’, the first film by Chilean-born artist Alfredo Jaar, as well as a silent film about music by Christian Marclay and a new work by Liliana Porter.

The program will also include short films by Edgardo Aragón, Ain Bailey and Sonia Boyce, Cabelo, Kudzanai Chiurai, Martin Creed, Keren Cytter, Kim Gordon, Rodney Graham, György Kovásznai, Rashid Johnson, Li Daiguo, Li Shurui, Jillian Mayer, Ana Mendieta, Haroon Mirza, Ara Peterson, Alex Prager, Anri Sala, Wilhelm Sasnal, Tromarama and Samson Young among many others.

Screenings will take place both in SoundScape Park on the 7,000 square-foot outdoor projection wall of the New World Center, as well as on dedicated touchscreen monitors within the Film Library at Art Basel’s show in the Miami Beach Convention Center.

In addition, Marian Masone, New York based film consultant and strategist, has selected ‘Maurizio Cattelan: Be Right Back’ (2016) directed by Maura Axelrod, for a special screening at the Colony Theatre on Friday, December 2.

Returning for his sixth year, curator David Gryn presents several works that engage with music, including a set of 28 short films screened under the title ‘Best Dressed Chicken in Town’ after a classic 1970s reggae song by Jamaican singer Doctor Alimantado.

The lineup focuses on a selection of international artists who engage with music in a multitude of ways. A ‘Double Bill’ program will pair two film works that share similar themes or approaches to an intense musical score: Rita Ackermann (b. 1968) and Christian Marclay (b. 1955) on Wednesday, and Liliana Porter (b. 1941) and Alfredo Jaar (b. 1956) on Friday.

The late screening on Thursday, December 1 will feature works by sound artist and DJ Ain Bailey (b. 1963), with Sonia Boyce (b.1962), along with pieces by Anna Grenman (b. 1984), Rashid Johnson (b. 1977), Alex Prager (b. 1979) and Penny Siopis (b. 1953).

The final presentation on Saturday, December 3 will include three early films by Polish artist Wilhelm Sasnal (b. 1972), in which he added visual accompaniment to enhance the aural experience, along with a recent work, in which the score directly drives the narrative, replacing spoken words.

Every evening, directly preceding the Film program, surround sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer and Susannah Stark will be presented on the state-of-the-art surround system in SoundScape Park.

In conjunction with the outdoor film screenings, over 50 works have been selected to be shown exclusively within Art Basel’s designated Film Library at the Miami Beach Convention Center. Visitors will be able to individually screen over 50 works by artists such as Stephen Dean, Edith Dekyndt, Maggie Lee, Gabriel Lester, Shelly Nadashi, Sophie Nys, João Vasco Paiva, Betye Saar, Jason Simon, Su-Mei Tse and Tuo Wang. The Film Library is accessible inside the fair halls on touch-screen monitors during show hours. Access with a show entrance ticket.

On Sunday, December 4 at 2pm, Art Basel’s Salon program will feature ‘The Artist as Composer’, a talk between the artists Rachel Manson, Molly Palmer and Susannah Stark, and Kathryn Mikesell, Founder of The Fountainhead Residency and Studios in Miami. The talk will be moderated by William Simmons, author, Hyperallergic, New York, with an introduction by Film and Sound curator David Gryn.

Art Basel entry tickets include admission to Salon.

The Film sector’s Media Partner is Time Out. For the full gallery list for Film, please visit artbasel.com/miami-beach/film

Art Basel Facebook page

Time Out – Things to do at Art Basel in Miami Beach https://www.timeout.com/miami/things-to-do/art-basel-miami-2016-film

 

 

 

 

 

 

 

 

Keren Cytter on Reinventing the Rules of Filmmaking – Artspace interview by Loney Abrams

In Andrew Goldstein, Art Basel, Artspace, Daata Editions, Digital, Frieze, keren cytter, Loney Abrams, Uncategorized, Video on 13/10/2016 at 5:35 pm

 

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Image Still: Keren Cytter, Terrorist of Love, 2016 (a Free Downloadable Artwork – commissioned by Daata Editions and Artspace)

Keren Cytter on Reinventing the Rules of Filmmaking (or, How to Manipulate Your Audience) by Loney Abrams, Artspace.

It’s difficult to speak about Keren Cytter’s oeuvre holistically, only because she’s such a prolific artist that it’s almost impossible to view it all. The Israeli-born, New York-based filmmaker and writer has produced over 60 videos; published seven books that include novels, poetry, and screenplays; and is also the founder of dance company Dance International Europe Now (aka D.I.E. Now.)… and she’s hasn’t even turned 40.

Like Martin Heidegger’s famous hammer, which only reveals its true nature once it breaks or otherwise fails to function, Cytter’s films employ cliché to set up familiar reference points only to break them down—with poorly dubbed dialogue, fragmented or repetitious story-lines, and subtitles that address the viewer, for example­—and reveal the cinematic conventions that are normally invisible to us.

Cytter’s bag of tricks is chock-full of immediately identifiable tropes, from overly dramatized Hollywood mobster and thriller genre films, that have been delivered so adeptly by directors like Francis Ford Coppola, Alfred Hitchcock, and Quentin Tarantino. But Cytter’s use of these devices don’t quite fit—instead, they feel willfully clumsy and absurd. The 2014 video Rose Garden ends as a young boy is shot with a rifle after stealing a disco ball from the kind of timeless Midwestern dive bar you might expect to see in No Country for Old Men. The boy, refereed to by his bartending parents as both “Scott” and “Stock,” had shot his mother a few seconds before for no discernible reason, and the two murders (of which there are four total in the nine-minute-long film) seemed to bear no relation to one another.

Equally disorienting, the film Four Seasons (2009) starts with a shot of blood dripping onto white tile as a wounded man sits in a bathtub with snow falling around him. After the opening credit sequence, a woman enters the bathroom to ask the man to turn his music down, which she can hear from the apartment next door. The man yells twice, “Stella!” (presumably in reference to Marlon Brando‘s oft-parodied line from A Streetcar Named Desire) and the woman replies, “My name is Lucy, man,” before conversation unfolds casually as if nothing is out of the ordinary. Cytter uses clichés like cinematic readymades, using them to piece together disjointed, fragmented, often absurdist narratives. As a viewer, it sometimes feels as if, through her exaggerated use of cinematic conventions, Cytter is reminding us that we’re watching a film.

Humor, some theorists believe, is experienced when a person’s worldview is turned on its head for a split-second, and then revealed to be only temporary, a joke. Cytter’s films are funny—funny in a smart, dry way that challenges the viewer’s relationship to film. In Cytter’s Video Art Manual, the artist illustrates, quite literally, the filmic conventions and cinematic clichés that she subverts in her work.

The video begins with a young man in a suit sitting at a desk addressing the camera: “In this informal presentation I will try to unfold the great mysteries of new medias and reveal the utopian anxieties of the common man.” By then, we can already assume that this won’t be a straightforward educational film by the way the audio inexplicably changes volume mid-sentence, at times becoming unsynchronized with the actor’s lips. This scene segues into the next with a countdown that only goes from “five…” to “four…,” leading into a montage of news footage that introduces a second narrative, an impending cataclysmic solar flare event, that continues to weave in and out of the rest of the film.

Characters preparing for this imminent environmental catastrophe shift between inhabiting their roles as fictional characters and acting as actors who are playing their characters’ parts. We see one actor selling himself during a casting call, though his rehearsed speech makes it obvious that this too is an act. “You’ve got to take me, I’m multitalented. I speak three languages, sprechen sie Deutsch, y hablo Español,” the actor says before spouting off generic textbook Spanish phrases, while a superimposed subtitle reads, “The performers aren’t as concerned with their acting skills as they are representing familiar characters and situations. Subtitles help to distract the viewer from bad acting and visual mistakes.” Cytter’s films may follow some sort of narrative thrust, but the meat of the work’s content can be found on the bones—the form, the structure that is conventionally out of site but is foregrounded for Cytter. We as viewers are as aware of the off-screen editor, the director, the script writer (who are all, of course, Cytter), as we are the actors onscreen.

For an artist making self-reflexive medium-specific work, Cytter sure does work in a number of media. In 2008, Cytter expanded into the world of theater, founding her dance company, D.I.E. Now. Their first production, The True Story of John Webber and His Endless Struggle With the Table of Content was as much Samuel Beckett as it was “Disney on Ice.” Combining dance, video, music (composed by Cytter herself), and spoken text, the artist worked with non-professional performers—a trademark Cytter carried over from her video work. The production was performed at the Tate Modern’s Turbine Hall in London in 2009.

Cytter’s most recent work is yet another departure from her cinematic mainstays. Terrorist of Love, commissioned by Artspace and Daata Editions (and available as a free download here), is a music video, and uses imagery native to the Internet—two firsts for the artist.  Using a fixed 4K camera, Cytter shot the video in one take, before devising an unconventional video format in post-production solely using key framing, meme-like imagery, and an original soundtrack—an unprecedented approach to video-making in any genre. Here, Artspace’s Loney Abrams talks to the artist about making Terrorist of Love, her self-imposed rules of production, addictive Instagram habits, and the artist’s unfulfilled desire to make her audience feel sad.

Terrorist of Love seems to be the first video you’ve made that is soundtrack driven. How did the idea come about?

I hadn’t made anything like this before. I was in Israel and I was visiting my friend who is a musician, and I asked him for songs. He had this one and I decided to work on it. Then I said, “Okay, we can replace him with performers.” So that’s what we did!

Would you consider it a music video?

I’d say it’s a music video, yeah. [Laughs.] I made up a structure to follow: I will use a very good camera and will shoot two performers on a roof, lip-syncing and casually dancing to the song, and after that, I will zoom into the frame and let the camera move to the shift of the music, on different details of the shot.

What are the lyrics?

Terrorist of Love / Turkish Delight / Search me / Search me. I think it’s a love song, using political words. I made up the choreography.

Have you used meme-type imagery before or is this new too?

On my Instagram yes, but no, never in a video. It doesn’t ever fit with a plot so I could never do it.

Can you talk about your Instagram?

I’m obsessed. I was in rehab for three weeks!

You’re addicted to Instagram?

Yeah, my friend told me I should stop. I should stop. I think I’m really neurotic so that’s why I’m doing it. Instead of biting my nails I’m posting on Instagram. I got addicted, and I’m trying to post less—that’s why I’m erasing posts all the time. Also, I decide to always have less than 1,000.

1,000 posts? 

Images in in general, yeah. Because, to me, it looks vulgar if I have a lot. I also don’t follow people who post too much. That’s why I don’t like myself so much for doing it. I’m much less exclusive when I post a lot.

Sometimes an artist’s work becomes devalued when the artist overproduces. The demand can’t keep up with supply. You talk about your Instagram as if it’s going to lose value if you over-post!

No, it’s not that—I just don’t like people that post a lot. It means they have no life, and as you can see, I have tons of life. [Laughter.] No, I don’t know, I just post images all the time because whenever I have an empty moment I start to correct images and post instead of reading or doing something constructive. Like I told Fabian [an actor in Cytter’s upcoming theater performance], “Let’s go outside and bring the book,” so we brought the book and then I just sat outside posting images.

I’ve been following your Instagram for a while, and I’ve notice you use a lot of hashtags, which become poetic in a sense because they really aren’t useful as hashtags. It seems like sometimes the images on Instagram are secondary to your comments and hashtags.

It’s a lack of confidence sometimes. I think that my images are not good enough so I try to pump them up with the right hashtags. I want to express myself but I think sometimes images are not expressing myself. And sometimes I just don’t have good images! With all the life I have, I don’t have juicy, juicy images! [Laughs.]

In your films, what is more important, the images or the language?

I think the images, generally. The images are not connected very well, so I need lots of language to pull them together. Actually, there is one thing that’s funny with Terrorist of Love. Even if I use a good-quality camera it always comes out really bad, and for this video I used a 4K. So it’s a 4K image, but because you get into the frame, the quality comes out worse than any normal camera. So I said, “Oh, I’m keeping my line of bad images!”

In the first 10 seconds of the video, I thought you were zooming in and out on a still photograph—but then I began to realize that parts of the image were animated, and it was actually a video.

Yeah, well the camera didn’t move the whole time. That was my initial plan: to do everything like voyeurism in the frame.

Yeah, it’s amazing how dynamic you were able to make it without moving the camera. There’s so much going on in the video even though there was really very little activity on set.

Yeah I think people will really enjoy watching it… I think. I like it a lot. It’s going to be cute. It’s like, all Disney.

The scenery is so New York. It’s shot on a rooftop covered in graffiti, overlooking the Manhattan skyline. This kind of scenery is kind of cliché for a certain type of music video—but Terrorist of Love is so not the type of video you’d imagine in this setting.

[Laughs.] Yeah. At first I imagined filming it with the musician who wrote the song at his place in Israel. When we used to work together we got along very well, but when I left Israel 13 years ago, we became a bit like my characters and started drifting apart. I realized I’d be happier to do it not with him, but just to give him the video in the end. So that’s why I imposed everything I planned to do in Israel just on New York. To get into the frame with the sound of the music as the goal.

Your films are really transparent about the medium. So, sure, they’re about some characters, and there’s a storyline, but they’re also about people who are acting in front of a camera, and people who are reading scripts, and people who are making a film—in a way that makes the viewer very aware that they are watching a video. And in more recent years, you’ve also started doing live performances and theater. So I’m wondering how you carry the meta-narrative onto the stage?

Actually it’s quite easy. Now I’m doing a script for a theater we’re going to do. Suzy starts saying, “You might know me from other performances as in—just kidding, I never get the roll.” So you just need to say it and it’s there. It’s just a matter of marking it. You always know that it’s an act. I didn’t invent it, you know so, it’s quite easy— you just play all the time between those worlds.

Audiences obviously have very different expectations when they’re watching film or they’re watching theater. I imagine with film you’re able, through editing, to better direct how your audiences experience the film. You probably can’t do this as easily with theater. Is your audience on your mind when you’re making your work?

I see myself as my audience. When I see a theater play, I’m judging it. So the first thing I had to do when I wrote the text for Suzy is pull one over on the audience, to shock them so that after they stop judging and get into the plot. I like to have a plot but also I like the audience not to forget that they’re watching a play, or watching a film. I hate to waste my time watching other people’s stories. I like when things are not clear to me. I also like that I can feel things—I like to get sad. But I’m not so good at making sad things, I’m better at humor. People are more attached to things if they are feeling sad, so I try to make sad things now, but it’s really embarrassing me.

So your motivation to make sad stories comes not from necessarily having sad stories to tell but wanting people to feel sad?

Yes, exactly. It’d be great if they can’t understand what the story was but they say, “It was so sad.” That would be great because it means I really manipulated them.

In Video Art Manual, the format you’ve set up is similar to a how-to video and then woven into that is this kind of absurdist narrative about an impending apocalyptic solar flare event.

Ah yes.

And then on top of that you’re also bringing the viewer into it by commenting on their experience, and so I’m wondering how you differentiate, or if you differentiate, between narrative and content?

Well for me the content is actually the structure of things, not the narrative itself. The narrative is just an excuse for the audience to keep on following. With the solar flame, I was a bit consumed by it. I read it and I was really worried for my job because they said there will be an electricity power cut, and I said “How can I make videos?” and I said “Oh, I can make drawings.”

I mentioned several times in the video the solar flame and the consequences because that will make the audience keep on watching it, and, for me, that narrative is more interesting than the history of video art. So for me the structures and the frames are much more interesting than the narrative, and the narrative is just for the audience. And it’s also a way for the images to come together so I can smash different things and it will make sense for you because there is some kind of narrative—my excuse for it.

So making a narrative is just an excuse—

To create structures, yeah.

So the narrative gives you an excuse to make a formal film. You also use many different languages in your films and I wonder if that’s an excuse to use subtitles and text as another play on form?

Yeah. Right. Also, you see an Italian movie and it’s not acted well or you don’t get the language so you just say, “Oh, it’s the Italian”—that’s what I think, “Oh, it’s the Italian, Italians are like that.” But when I was in Italy I made a movie there and I asked one of the girls to act like Anna Magnani and she knew exactly what I meant and I realized she was acting a certain way—it’s not like the way Italians act normally, so I was right.

What’s your writing process like? Would you walk us through how you get from point A to B?

It’s depressing actually, I just don’t leave the house. That’s why I’m posting a lot. I have no life so because I need to write all the time. I need to find an idea and until I have an idea I cannot write. It’s better not to write until I have the idea, and then when I start writing I write halfway through and I think it’s fine, and then I realize I cannot continue because the idea is not finished, it doesn’t have enough rules. I need to have more rules and more framing.

What do you mean by rules?

For example I made a Russian movie in Russia with naked people—lots of penises. It’s a very classic movie—the camera doesn’t move. I needed some rules… nine shots with no zoom in and no panning; three acts with three shots in each act. I was in Russia and I was googling “crazy Russians” and I found a crazy image of Russians taping up their apartment with plastic and then flooding it like a swimming pool. My backyard is really fitting for that, actually. That was in my head, that I wanted to turn my backyard into a swimming pool. So I decided to make a movie because of this image.

Because it was with Russians I could do it hardcore, and there were lots of penises and porn and stuff like that. I thought also, because it’s Russians, it’s a bit political because of the power shift I think now in the world. So there were three guys and one girl because I’m concerned about women’s rights, and then it begins actually representing minorities in general. At the end of each act, one of them dies, but keeps on living in the next act. So that was part of the rules.

Another rule was that it needed to be in Russian, and the camera doesn’t move so they need some time to lower themselves to fit into the frame. Maybe there were more things that I forgot. But I need lots of rules just in order to write.

I’m thinking about this device you’re using in Terrorist of Love where you don’t move the camera. The video is static with no cuts. It seems super contemporary, actually, in that a lot of video we’re seeing are coming directly from people’s iPhones. For example, on Facebook Live or Periscope, it’s live-streamed and you can’t make edits. We’re probably getting used to seeing more of these really long takes.

Ah, yeah, that’s cool. Actually in cinema, that’s what counts as a good thing—if the take is long. And subconsciously I think it somehow stays with you. At least it does with me in The Passenger with Jack Nicholson. The last shot is 360 degrees uncut. I like it.

Do you have anything coming up that you’re excited about?

Excited? [Laughs.]

[Laughs.] Do you have anything coming up that you are excited about or not excited about?

My book [A-Z Life Coaching] will come out in two weeks. The book’s cover designer is the designer of the poster from The Lobster, the movie. I met him once and I found his email and he agreed to do it, so it’s really cool. I like it; he invented it.

Also there will be this theater thing we are going to do. We’re going to shoot one part with Colby Keller, who’s a gay porn star, and we are going to show it in the Stedelijk Museum in Amsterdam in November. I don’t know if I’m excited about this, or I’m afraid. Woah, yeah, I’m not excited yet.

Get your Keren Cytter Free Download Here

https://daata-editions.com/art/video/terrorist-of-love

Daata Editions at Cultural Traffic

In Art Basel, Cultural Traffic, culturaltraffic, Daata, Daata Editions, daataeditions, Frieze, Frieze Art Fair, Toby Mott, Truman Brewery, Uncategorized on 30/09/2016 at 11:18 pm

daata-x-cultural-traffic

Daata Editions at Cultural Traffic
A New Print Publishing Arts Fair

CULTURAL TRAFFIC

Friday/Saturday 7–8th October 2016.
Juju’s Bar & Stage, Old Truman Brewery, Ely’s Yard, 15 Hanbury Street, London, E1 6QR
For further info contact: culturaltraffic@gmail.com
http://www.culturaltraffic.com

CULTURAL TRAFFIC is launched by editor, designer and collector Toby Mott who says: “CULTURAL TRAFFIC is a fascinating window into the flourishing post-digital zine scene”.
Daata Editions will screen works by: Keren Cytter, Ed Fornieles, Ariana Reines, Daniel Swan, Artie Vierkant / New Contemporaries selects Melanie Eckersley, Hannah Ford, Jasmine Johnson, Scott Lyman, Scott Mason, Abri de Swardt (all released at Frieze London) / Larry Achiampong, Casey Jane Ellison, Rashaad Newsome, Tameka Norris, Saya Woolfalk / Gutter Records has selected Jake Chapman, Graham Dolphin, Joachim Koester & Stefan A. Pedersen (all released at EXPO Chicago).

More info

Juju’s Presents: CULTURAL TRAFFIC
A New Print Publishing Arts Fair
The UK’s first annual fair for dealers in counter culture and independent producers to trade books, zines, prints, catalogues, vinyls and tapes in both current and obsolete format. CULTURAL TRAFFIC will take place on Friday/Saturday 7–8th October during the weekend of Frieze Art Fair October, 2016.
By bringing together pioneering contemporary publishing with vintage counter culture and out-of-print material, CULTURAL TRAFFIC paves an express connection between yesterdays’ cultural artefacts and the latent collectables of tomorrow.

Open and free for all to visit CULTURAL TRAFFIC offers the public an opportunity to engage in the past, present, and future of counter culture at an affordable level, while offering vendors an opportunity to capitalise on the amplified busy climate created by Frieze Art Week.

CULTURAL TRAFFIC is a broad, vivid experience away from the mainstream offering something for everyone including food, drink and evening entertainment. It is a market for the culturally inquisitive as well as showcasing a unique perspective on counter cultures pre-internet roots.

Juju’s Bar & Stage is situated in London’s Old Truman Brewery, Shoreditch. The Truman’s Brewery will also be hosting two other fairs, Moniker Art Fair and The Other Art Fair, creating a showcase of independent and established talent in one location. This exciting spectacle will attract 20,000 plus visitors, forming one of the major satellite events of London’s Art Week.

CULTURAL TRAFFIC is launched by editor, designer and collector Toby Mott who says: “CULTURAL TRAFFIC is a fascinating window into the flourishing post-digital zine scene.”

Mott’s expansive collection of punk ephemera, The Mott Collection has been exhibited widely and his most recent publications are: Oh So Pretty: Punk in Print 1976-80, Phaidon. Showboat: Punk/Sex/Bodies, Dashwood Books and Skinhead: An Archive, Ditto Press.

Links

https://frieze.com/article/reading-room-frieze-london-2016

https://daata-editions.com/artists

http://fadmagazine.com/2016/09/29/daata-editions/

http://thembsgroup.co.uk/internal/art-meets-tech-the-democratisation-of-art/

http://www.artspace.com/

Saya Woolfalk – All the colours of a rainbow

In Art Basel, Art Basel in Miami Beach, Art Fair, Daata, Daata Editions, daataeditions, digital art, Expo Chicago, POSTmatter, Saya Woolfalk, Uncategorized, Video Art, wetransfer on 15/09/2016 at 8:40 am

saya-woolfalk-color-mixing-machine-6-web

ALL THE COLOURS OF THE RAINBOW

by POSTmatter Editors | September 7, 2016

A CONVERSATION WITH SAYA WOOLFALK ON CULTURAL MIXES, UTOPIA AND HER NEW COLLABORATION WITH DAATA EDITIONS AND POSTMATTER. “I AM DEEPLY INTERESTED IN PLAY AND THE POSSIBILITIES THAT EMERGE THROUGH PROCESSES AND I TRY TO BRING TOGETHER THINGS THAT MAY NOT GENERALLY BE FUSED TOGETHER”

Saya Woolfalk is a New York-based, Japanese-born interdisciplinary artist. Using science fiction, fantasy, anthropology and semiotics, she explores the alternative utopian possibilities of identity. Melding dance, video, animation and sculpture in a number of ongoing projects, she offers fantastical narratives of cultural hybridity to expand traditional visions of the present and ideas of the future.
In a recent public performance piece that took over New York’s Fulton Centre, she paired performance with interactive app technology to offer passers by a glimpse into her kaleidoscopic imagination. It is one in a series of pieces that builds the story of the Empathics, a fictional race of women who Woolfalk is writing as unbound by the limits of genetics.
In collaboration with Daata Editions, we preview one artwork from Woolfalk’s upcoming 2016 series Color Mixing Machine. In it, she continues to build the story of the Empathics through ritualistic digital creations that reimagine what it means to be human. The full set of artworks will run in POSTmatter from 29th September, and are available to buy on Daata Editions, an innovative digital platform representing contemporary moving image and sound artists. Our preview and interview with Woolfalk is presented in association with WeTransfer.

PM: What is the mission of your fictional future female species, the Emphatics, and the space they inhabit, ‘No Place’?
SW: ‘No Place’ is a project I worked on from 2006 to 2008 with filmmaker and anthropologist Rachel Lears. The No Placeans are plant humans from the future who change gender and colour, transform into the landscape when they die, and repurpose refuse into usable technologies. The Empathics are people in the present who establish something called the Institute of Empathy (IoE) to study No Place. The IoE encounters a grouping of No Placean bones and fungus on the bones stimulates their physiological mutation and cultural transformation. This mutation allows the Empathics to easily cross species by integrating foreign genetic material into their DNA.

PM: From performance to digital to textile, your art practice includes a comprehensive range of materials, forms and processes. What is your process for developing new multimedia pieces?
SW: I usually start with an idea, which changes as I make the physical work. I create drawings, mock-ups and digital renderings and then create physical prototypes. Both the mock ups and prototypes are edited as I go along. Many are discarded or stored as parts for future projects. I constantly move through multiple media and I work simultaneously in many.

PM: What is it about the history of craft as a practice that appeals to you and how do you see it as remaining prominent in a time when analogue methods are being outpaced by automation?
SW: I was taught by feminists at Brown University, and the work done at Judy Chicago and Miriam Schapiro’s Womanhouse was incredibly influential for me when I began making my own work. The students who created that project reimagined and reconstructed a home to integrate alternative logics into its structure. Their use of craft based practices to transform the domestic appealed to me as a kitchen table way of making art that could address larger social issues.
I also use many digitally methods to produce work. I have created augmented reality garments, digital video and animation, as well as vinyl wall papers printed from vectorised files. However, I try to maintain a relationship to the handmade by using original hand-printed artworks and collages as the raw material for the creation of the work.

PM: Can you discuss the notions of hybridity that feature in your work?
SW: I am deeply interested in play and the possibilities that emerge through processes and I try to bring together things that may not generally be fused together. When I started working on the Empathics project, I was inspired by the dual notion of a chimera. A chimera is both an imaginary female monster with disparate parts, and a scientific term for a genetic organism composed of two or more genetically distinct tissues—for example, partly male and partly female. This is one of my entry points into thinking about hybridity.

PM: What is your personal relationship with religion and spirituality, and how has it influenced your work?
SW: Many of the forms I use evoke the religious and spiritual. I do this to set a tone for my audience, so they have a sense that they are entering a state of liminality. My own life is relatively secular, although I was raised Catholic on my father’s side and Buddhist on my mother’s.

PM: It feels as if you are envisioning a model for a future that prioritises indigenous belief-systems, the female, digital innovation and harmony. This stands out as optimistic at a time when futuristic visions are so often grey, mechanic and dystopian. Is your commitment to a sense of joy, communion and hope a deliberate choice or natural occurrence for you when making work?
SW: The Empathics were conceptualised as a group of humans who became incredibly receptive to the introduction of foreign genetic material. I wanted to explore how morphology and culture are mutable through contact and creolisation. As I make work, I explore narratives that offer my audience a sense that there may be positive solutions for our often-dystopian visions of the future. I would say that yes, I make a deliberate choice to offer a sense of hope.

This interview is published in partnership with WeTransfer, as part of our series exploring the creatives who push the boundaries between digital and physical space in new and surprising ways. See Saya Woolfalk’s work custom moving image piece on WeTransfer here.
The six works from ‘Color Mixing Machine’ are now Online at Daata Editions, in association with POSTmatter, and are now available to buy online. Daata will be exhibiting a specially created artwork by Saya as part of the project at Expo Chicago, in conjunction with this POSTmatter and Daata Editions collaboration.

Saya is represented by Leslie Tonkonow Gallery NYC

Is Online Art The Future ? Aston Martin feature on Daata Editions

In Amalia Ulman, Art, Art Basel, Aston Martin, Daata, Daata Editions, David Gryn, David Hockney, digital art, Elizabeth Dee, Julia Stoschek, Saya Woolfalk, Scott Reeder, Uncategorized, Zuecca Projects on 08/07/2016 at 10:53 am
Aston Martin Daata Editions

Image: Tracey Emin, I Lay Here, 2016 (courtesy the artist and Daata Editions

 

Art transcends culture, echoes its roots and is integral
to the documentation of the human experience

For an artwork to reflect the musings of its creators, it should ideally be able to naturally adapt. While a ‘physical’ piece of art may be moved or displaced, its very form cannot. The intellectually satisfying aspect of enjoying a painting for example, will come from discovering (or rediscovering) a detail we have missed or overlooked. A brush stroke or a shaft of sunlight can add new meaning to a well-loved piece, without altering it per sae. Since the dawn of the Internet in the 1980s, artists have exploited the laws of this parallel world to create events, images, or to subvert the way we visually absorb information.
Part of the attraction is its global reach, the use of cutting-edge technology and the liberation of art from the constraints of traditional wealth-creating establishments such as commercial galleries, auction houses, private collectors and public museums. Then there’s how we as viewers actually relate to virtual or digital art and one of the most exciting features of a digital piece of art is that it is ever changing. While we may be familiar with its initial subject, it will surprise us as it moves and transforms, inviting us to engage.

Though digital pieces have found a home in some of the art world’s most heavyweight institutions, many collectors still need convincing.

Enter Daata Editions: an online gallery utterly dedicated to video, sound and web art, launched in May 2015, showcasing artists’ video, sound, web and poetry works, available to view and acquire on the website as digital downloads in limited editions. Featured on Daata Editions is Argentinian-born Spanish Artist Amalia Ulman whose series, ‘White Flag Emojis’, displays short videos that create a powerful feeling of apprehension. Ulman is also known for exploring social media in her work, Excellences and Perfections, a poignant four-month long art project in which she creates a fake persona on her Instagram page with thousands of followers. The thought-provoking series throws up important questions on the pitfalls of easily manufactured online “fame”, while, perhaps ironically, highlighting the power of digital art in doing so.

The founder of Daata Editions, David Gryn, and his team have a strong reputation worldwide for producing, curating and promoting artists’ audio visual projects and events that have consistently excited and attracted large audiences, and introduced new audiences to the arts. Gryn says that digital and downloadable art is the future, a belief confirmed by David Hockney who in 2011 began creating works to be viewed exclusively on an Ipad, thus allowing him broader perspective and freedom of adaptability when working.

Daata Editions artworks form part of the Hammer Museum Contemporary Collection, US; the Julia Stoschek Collection, Germany; KIASMA, Finland and the Zabludowicz Collection, UK. Collectors, including Robert and Renee Drake, The Netherlands, as well as galleries, including Elizabeth Dee, New York and Marc Foxx, Los Angeles, have purchased multiple artworks from the platform.

Things are moving all the time, so watch out for fresh new works Daata Editions will be launching in the next months. Artists will include the likes of Saya Woolfalk, Larry Achiampong, Scott Reeder and Tameka Norris. In addition, Daata Editions in collaboration with Zuecca Projects presents Gentrification, an exhibition with new works by artists Hannah Quinlan & Rosie Hastings, at BBAR, Bauer Hotel, Venice, to coincide with the 15th Venice Architecture Biennale.

Leaving the Nest – a text for Wimbledon MFA

In Art Basel, artists, Artprojx, Daata Editions, David Gryn, Frieze, MFA, Tate Modern, Uncategorized on 18/06/2016 at 1:27 pm

wimbledon image

The Outro text for Wimbledon College of Art MFA degree show catalogue

Leaving the Nest

The MFA course is graduating. A group of artists aged between 23 and 67 from countries all over the world. Now leaving the safety of a leading art school to enter the fray of the art world.

The art world eco-system comprises of artists, education, galleries, art fairs, museums and institutes, funders, collectors, curators, organisers, critics, advisors, auction houses, collaborations, project spaces and residencies. These all have their own inherent and combined hierarchies, secret codes, politics, processes and languages. It is sometimes impossible to fathom, seemingly unregulated and not always desirable. It has grey but very real borders, which govern and determine its outcomes, confirming the status of each other and generally the best wins out in this wholly abnormal creative, business and manufacturing process.

Ultimately the art world is yours – the artists, who make the art, to explore the unknown, utilise all mediums, show audiences new thoughts, horizons and aspirational aesthetics. A process to engage, educate, enthral, exude beauty, anger and banality.

In a world with dominant brands such as Frieze, Art Basel, Hauser & Wirth, Gagosian, Tate, MoMA it is very hard to see the wood for the trees. In the making of great art, there are often many layers of failure. The artists that fill these esteemed entities have not always been successful, not all they touch is gold, but what they do is to persevere, persist, be disciplined and exude a belief in their entire practice in their focussed pursuit of making art.

The art worlds ultimate winners are those who constantly strive to make the very best artworks, collaborate, communicate, take risk and are not basing their future on wealth creation, but on pure art making. Great things will happen if you truly believe in yourself and convey your message with confidence.

Be true, be believable, be an artist.

David Gryn, Director of Daata Editions and Artprojx and Curator of Film, Art Basel in Miami Beach

https://wimbledonshow2016.wordpress.com/

Artspace – My Favorite Works from LISTE 2016 – preview

In Andrew Goldstein, Art Basel, Art Basel in Miami Beach, Artspace, Bauer Hotel, Daata, Daata Editions, daataeditions, David Gryn, Jane Bustin, Liste, NADA, Uncategorized on 06/06/2016 at 8:48 pm

Daata Editions Director David Gryn’s Favorite Works from LISTE 2016

http://www.artspace.com/magazine/contributors/picks/david-gryn-liste-picks-53886

By Artspace Editors

June 6, 2016

Daata Editions Director David Gryn's Favorite Works from LISTE 2016

Daata Editions Director David Gryn. Photo by Alberto de Nart (shot at the Bauer Palladio, Venice)

David Gryn is the director and co-founder of the year-old digital art and video collecting platform Daata Editions and the film curator at Art Basel Miami Beach, so it’s perhaps unsurprising that his picks for LISTE 2016 tend toward moving images, technological interventions, and outide-the-box thinking of all kinds. Read up on the rationale behind his selections here, and stop by the fair from June 14-19 in Basel, Switzerland for more art world action.

MICHAEL AUDER
Gemälde II, 2015
Fonti

auder

As someone who ostensibly works with artists of the moving image I was compelled to select Michel Auder, a rare artist that seamlessly crosses the terrain between both art and filmmaking. Here’s a quote from Michel Auder that matches my thoughts on this selection: “When people ask me what’s the best thing I like, my head starts scrambling and I just can’t think of anything. Depending on the day, I might say this or that. I really don’t have any specific thing that I like better than others.”

 

JESSE DARLING
Colonel Shanks, 2016
Arcadia Missa

Jesse Darling

The Jesse Darling works shown by Arcadia Missa have a great sense of self, humor, and balance. I have been aware of Jesse and her work for some time and it is really getting the attention it deserves.

INGA MELDERE
“Students painting some of the remarkable scenery in the park”, 2016
Temnikova & Kasela Gallery

meldere

I have always been a big fan of the “sublime,” so this humorous Caspar David Friedrich-esque take by Inga Meldere took me by surprise. Temnikova and Kasela Gallery is an Estonian gallery and an art world gem.

 

SHANA MOULTON
Every Angle is an Angel, 2016
Galerie Crevoecoeur

moulton

Last year I selected Shana Mouton’s MindPlace ThoughtStream for the film program I curate for Art Basel Miami Beach—I knew how much I valued the work as I took endless images of it whilst it was playing on the huge 7000 square foot outdoor screen. I recently spent many days with Shana’s moving image works as a Daata Editions neighbor to the Gregor Staiger space at Independent Brussels and was mesmerized by the work’s magic. They are witty, aesthetic, intelligent, and spellbinding—they really are complete artworks.

 

ERKKA NISSINEN
Vantaa, 2007
Ellen de Bruijne Projects

nissinen

Crazy, funny, dark, engaging, bizarre—everything we should want from a great Finnish artist. Brilliant.

 

XIMENA GARRIDO-LECCA
Destilaciones, 2014
80m2 Livia Benavides

lecca

I have been increasingly observing that ceramics making their presence felt at art fairs. This is chiefly because my wife, the artist Jane Bustin, makes wonderful artworks with ceramic and porcelain (as well as paint, metals and fabrics)—my eye has been altered irrevocably to look more and more at this medium. This Ximena Garrido-Lecca installation at 80m2 Livia Benavides is earthy, historical, current, and intriguing.

 

DAWN KASPER
M44, 2016
David Lewis

kasper
I am drawn to these Dawn Kasper sculptures, as I am obsessed with music intersecting with art making.

 

YURI PATTISON
dust scraper fan 1.9 (power and wealth to honor leaders or religions to stretch architectural limits), 2016
mother’s tankstation

pattison

Yuri Pattison pushes the boundaries of our art world and how data engages with us all. I’m hugely looking forward to his first UK institutional show at Chisenhale opening in July, as well the outcomes of his winning the Frieze Artist Prize for 2016.

 

GERDA SCHEEPERS
The Style, 2016
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scheepers

Gerda Scheepers makes collages that disturb and disrupt, but are cohesive and use disparate materials to create an aesthetic whole.


Notes:

Overall in my selections I have been somewhat drawn to similar sculptural forms and colours evolving from a variety of materials (Sheepers, Pattison, Kasper, Darling) and obviously (to me) selecting some moving image works (Nissinen, Moulton, Auder), as they are great and it is vital that galleries at art fairs bring art forms that do not necessarily have the same commercial allure as 2d object based artworks, but as art mediums that are being used by most artists, which you would not believe, if you only ever saw artworks at art fairs.

I am always looking at/and for moving image and sound works at art fairs … and alas, rarely find much. It has been my work for over the last 15 years – being focused on showing artists moving image works and most often projects during major art fair periods, as this is when the finite art audience reaches its highest demand for art consumption. 

Liste, like NADA, Sunday, etc … gives us hope in the art world that there is the potential for great new galleries, new artists, new ideas – before the cyclical homogeneity (albeit often great!) of the major art fair commercial allure sets it.