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Archive for the ‘Art Basel’ Category

The artwork is a digital file, yes by Pau Waelder – a new Foreword for Daata Editions

In Art Basel, Art Video, Collecting, Collector, Daata, Daata Editions, daataeditions, David Gryn, NADA, Pau Waelder, Uncategorized, Video, Video Art on 16/11/2018 at 11:26 am

pau-waelder-2016-BN

The artwork is a digital file, yes

by Pau Waelder

A new Foreword for Daata Editions

When considering how to collect digital art, we come across two preconceptions: what an artwork must be and what digital files are worth. First, it is commonly assumed that an artwork is an object with unique attributes, original, and irreplaceable. The object routinely goes from the artist’s studio to the gallery, where it is acquired by a collector. There is no doubt that it is always the same object that trades hands, and it is finally the collector who decides where the artwork is placed and who has access to it. Conceptual and performance art has challenged this notion again and again, but the artwork always finds its way into the market and the collector’s home in the form of a more or less stable object. Thus, if an artwork (a) is not an object, (b) can be copied, (c) can be accessed or experienced beyond the control of its owner(s), and/or (c) requires a computer, software and display to be at all perceivable, some may find it “difficult,” “challenging,” or even not worth collecting. This relates to the second preconception.

Our computers, tablets and smartphones are constantly storing digital files. Most of them we have created ourselves, others we have downloaded for free or for a fee. They fill the device’s storage space and force us to either copy them to other devices, store them in the cloud or delete them. Digital files are therefore constantly moved around, copied and erased, both a necessity and a burden. In most cases, we don’t know what to do with them, they just linger in folders and hidden directories until detected by a cleanup app or simply obliterated when the device that stores them reaches the end of its service life. Digital files, therefore, tend to be considered expendable in the sense that there should always be another copy somewhere. In fact, a growing segment of the entertainment industry relies on selling access to content on digital files that we temporarily store in our devices and swiftly remove when we are done watching the film, tv series, or documentary; listening to the song or podcast; reading the book, graphic novel or magazine. Many times, the file is not even downloaded, it is streamed and thus disappears the moment it is not used anymore, without leaving a trace. When we pay for the content, we either rely on it being safely stored by the provider and always conveniently accessible or we just want to experience it and never care what happens to it afterwards, because there will always be more, newer content ready to be clicked on.

My point is that artworks and digital files seem to be incompatible, due to how we tend to conceive artworks and our daily experience with digital files. Artworks are forever, digital files are ephemeral. Artworks are unique objects, digital files are immaterial worthless copies. However, an artwork does not need to be an object. In fact, a painting is not an object, it is an image that becomes a physical object because the pigment needs to be placed on a surface and canvases make it easier than walls to create, move around and sell the images. An artwork created in a digital format (a video, sound, jpeg, gif, 3D animation, browser-based piece or what have you) is not only always a copy but also the result of a software interpreting a file on a certain display, so every time it is experienced it turns out to be, in a way, a unique performance. Of course, one has to make sure that the software works with the file and that the display shows the piece as intended, but that’s all part of the artwork being something other than a static, physical object –which would nevertheless require certain conditions of placement, lighting, humidity and so forth. Finally, the artwork may be available to others even if it is safely at home and a certificate of authenticity, kept in the safe, states that no one else owns it. Artworks have a life of their own as they are viewed in exhibitions, reproduced in photographs and videos, distributed in magazines, books and blogs. Most of the art we know and love, we have never owned and will never own – even big collectors know and love much more art than they have bought. A large part of that art we have seen through reproductions, mostly on screens. It is still part of us, and for those who were lucky, smart or powerful enough to buy it, the more people who feel that the artwork is part of them, the better. For what good is it to own something that no one else knows about, that none can appreciate, that cannot be shared?

Digital art allows us to own and at the same time share an artwork – not only its reproduction. This can raise some eyebrows and insecurities. It may be argued that if the artwork is available elsewhere or that it can be copied, it loses its value. However, in addition to what I have already stated about the nature of a digital file, let us consider what Nelson Goodman found to be the difference between an original artwork and a forgery: its history of production. A digital artwork that has been purchased from a reputable source with a valid registry of authenticity has a history of production that can be established from the artist to the collector. No matter how many copies of the artwork may circulate, only the collector – or collectors if the artwork is editioned– can claim ownership and, more importantly, become part of the history of the artwork. This is not just provenance, which will matter to the next owner, but an active involvement in the existence of the artwork, its relevance and also in supporting the work of the artist. This is where Daata Editions comes in. Daata commissions art that is sold through its online platform in limited editions. The artists are paid to produce artworks that anyone can buy with a few clicks. The buyer can download the artwork and store it in her computer, on the cloud, wherever, make copies and display them on any device she owns. The rest of us can see the same artwork – watermarked – on the platform, appreciate it, maybe feel the urge to own it too. But we won’t be part of the artwork’s history, only those who bought it do. And those who are lucky or smart enough get the first edition.

Pau Waelder is a curator, writer and researcher whose work focuses on contemporary art and new media.

https://daata-editions.com/

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Daata Editions New Artist Releases & NADA Miami – Coming Soon – Press Release Info

In Animal Charms, Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Bex Ilsley, Bob Bicknell Knight, Daata, Daata Editions, daataeditions, Jakob Kudsk Steensen, Miami, NADA, Ollie Dook, Puck Verkade, Rustan Söderling, Shamus Clisset, Stine Deja, Thomas Yeomans, Uncategorized on 05/11/2018 at 10:40 am

DAATA EDITIONS NEWS 

Daata Editions is excited to announce the forthcoming release on Dec 5 of new artworks by Ollie Dook (trailer), Jakob Kudsk Steensen & Puck Verkade (trailer), along with new works selected for Daata’s Curated section by Bob Bicknell-Knight with artists featuring in Flow My Tears; Shamus Clisset, Stine Deja, Bex Ilsley, Rustan Söderling and Thomas Yeomans, to coincide with Daata featuring at NADA Miami in December 2018.

Puck 1

Image: Puck Verkade, Lucy Live, Courtesy of the artist and Daata Editions

Daata Editions at NADA Miami, 6-9 December 2018, Ice Palace Studios, 1400 North Miami Avenue, Miami, FL 33136 www.newartdealers.org/

Daata at NADA will feature new artist releases on framed iPads in the Daata Editions booth 3.01. Animal Charms, features the newly commissioned artworks by Ollie Dook (Animal Stories), Jakob Kudsk Steensen (REWILDLING) and Puck Verkade (Lucy Live), each in their own way deal with themes of evolution, extinction, preservation and new alternatively reconstructed realities where the boundaries between animal and human are blurred as part of the contemporary experience.

The works will all be available to view and buy online on December 5.

Jakob Kudsk Steensen’s video work for Daata, REWILDLING, will be on show simultaneously in conjunction with RE-ANIMATED, Kudsk Steensen’s first institutional solo show in Denmark, taking place at Tranen in Copenhagen, and curated by Toke Lykkeberg.

Daata Editions x Vanity Projects are delighted to present Puck Verkade on view at both Vanity Projects Miami and Vanity Projects NYC coinciding with the presentation at NADA. Puck’s new artwork Lucy Live will also be part of Verkade’s solo presentation at Forde in Geneva, opening on Dec 6. Puck Verkade TRAILER

Ollie Dook and his Daata commissioned works Animal Stories will feature in a group show Silly Symphony including artists; Dook, Andy Holden, Bobby, Philippe and Sputnik, Dec 8 –  Jan 5 at Ex-Baldessare in Bedford. Ollie Dook Trailer

At NADA Miami, Daata will also show new composite artwork of Tracey Emin’s six Daata Editions commissioned sound poems and will be playing Jacolby Satterwhite’s suite of eight videos En Plein Air Abstraction.

A new curated online playlist by Bob Bicknell-Knight Flow My Tears featuring artists Shamus Clisset, Stine Deja, Bex Ilsley, Jillian Mayer, Jonathan Monaghan, Rustan Söderling and Thomas Yeomans will also be available to view online. Flow My Tears TRAILER

Full Press Release attached, more information and images HERE

Daata Editions

New Art Dealers (NADA)

Trailer 

Phillip Birch – New Commission on Daata Editions – Office Shadow

In Art Basel, Art Video, Daata, Daata Editions, daataeditions, Lyles & King, Office Shadow, Phillip Birch, Uncategorized, Video, Video Art on 11/06/2018 at 12:46 pm

Office-Shadow-3 (Sisyphus Rock)

Daata Editions are excited to announce the release of Phillip Birch’s new commissioned artworks titled Office-Shadow (Personas). Birch has produced six short films that take place on a single floor of a computer generated office building. Each video acts as a single chapter of a longer narrative which is told through the point of view of a first person perspective.

Using this perspective, Birch (b. 1978, Detroit) is utilizing the language of video game design which allows the viewer to project themselves into the space as if they are themself the protagonist. The videos draw on Jungian psychology, the mundanity of office work, the visuals of Role Playing Games and the language of Greek mythology to create a world that is at once familiar and unfamiliar.

Birch is represented by Lyles & King and his recent solo exhibitions and performances include Milespires and Reliquaries, Lyles & King, NY; Entering God Mode, Jack Hanley, NY; The Crown of Modernity, 47 Canal, NY; The Hand of God, Essex Flowers, NY; The Chair After Its Method of Implementation, Cleopatra’s, NY.

TRAILER

David Gryn, Sound and Technology Curator, about If So, What?

In Art Basel, Art Fair, Curator, Daata, Daata Editions, daataeditions, David Gryn, If So, What ?, ifsowhat, San Jose, Silicon Valley, Sound, Technology, Uncategorized on 06/12/2017 at 8:54 am

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David Gryn, Sound and Technology Curator, about If So, What?

By Abby Margulies

“I think about audience as much as I think about how to support artists.” Says David Gryn, who is speaking with me in the lead up to the opening of Art Basel Miami Beach (ABMB) about curating film programs, his thoughts on the upcoming fair in Miami, and his new role as Technology and Sound Curator for If So, What?. Gryn, who is Director of Daata Editions and Artprojx, is also going into his 7th year as curator for film and sound for ABMB, and is a renowned expert in the field of film, digital media, and sound curation.

Right now, Gryn is hard at work for ABMB, which opens this week. This year’s program takes as its theme the universal language of dance, and explores the relationship between music and movement. The program will include three films by artists Jibade-Khalil Huffman, Jen DeNike and Tin Ojeda, as well as a series of short films presented by the Chicago Film Archive in collaboration with Chicago-based gallery Corbett vs. Dempsey.

“The goal,” said Gryn, who has dedicated his career to elevating and creating a platform for film and digital art, “is to encourage galleries to show the mediums that they don’t really bring to art fairs or find easy to sell. And the result is that it often raises the profile of the work and the medium.”

For the sound component of the program, Gryn is working with artist Hans Berg to program surround sound in the 160 speakers in SoundScape park, part of New World symphony. The sound element was a component that Gryn introduced into ABMB a few years ago, and which runs each evening before the film programming begins.

One of Gryn’s favorite aspects of the program is that the film and sound portion of the fair is open and accessible to everyone. “At the screenings there’s a big mix of huge art collectors, homeless people, and families from Miami,” said Gryn. “They are all equal to me; that mix is interesting to me. I’m trying to be accessible to as many people as possible.”

Gryn is in the business of empowering and providing a platform for artists. He is the Director of Daata Editions, a platform that he developed with art collector Anita Zabludowicz. Daata Editions commissions artists’ video, sound, poetry, and web-based works, and makes them available for purchase by museums, fairs, hotel brands, and private collectors, among others. But as a curator, and someone who ultimately wants to see these artists make a living, he is also in the business of audience engagement.

“When I view an audience I am always looking at how they are engaging with the work. I think if I’m not doing the right thing it’s not always good for the artwork.”

For Gryn, his commitment to curating film and creating a platform for artists working in video and digital mediums to present their work serves a larger mission. “I am trying to empower a medium, to make sure there is a marketplace connectivity,” said Gryn.

Working with If So, What? is a natural fit for Gryn, who said that he is very excited to be working with and supporting an innovative new art event. “We have a mutual belief in supporting the artists, in being honest, truthful, and diligent about how we operate with artists.”

In addition, Gryn sees Silicon Valley as an interesting new frontier. “I think there is a change going on and a growing interest in art. It was hitherto dominated by the dot com sensation, but I think that has moved on and people are becoming interested in other ways of being,” said Gryn. “The art gold rush is starting to take place, and people think there is more opportunity on the West Coast to gain traction. Being supportive of a new art fair model excites me.”

With regards to his plans for If So, What, Gryn is still holding his cards close. He is planning to work with some of the artists that he has commissioned for Daata Editions, as well as to collaborate with artists and designers that he has been interested in partnering with, some of whom are working in virtual reality, and others who are experimenting with new and unconventional surfaces on which to display video work. He is also interested in drawing on themes relevant to the Bay Area, from the South Bay’s long connection to the tech industry, to San Francisco’s history as a hub for LGBTQ communities.

Part of Gryn’s mission is to help communicate the medium of film as an artwork, which an event like If So, What? provides a perfect opportunity to do. “I’m trying to delineate that this is an artwork more than anything,” says Gryn. “Boundaries are becoming ever more blurred and I’m trying to make sure that the boundaries are at least acknowledged. The function of art is itself. It is not a marketing tool to sell something. It is nothing other than to be itself.”

Ultimately though, it is always about the artists, and Gryn is committed to helping them along – by elevating their medium and creating a perfect forum for audiences to engage with their work.

“Artists are leaders of cultural thought, of intellectual thought, and they are often undervalued and under-looked. Even at art fairs things get forgotten, which is why I’m excited by a new fair that thinks about artists in a different way.”

https://www.ifsowhat.com/

Blink Burn – The Pratt and New World Symphony Collaboration – Miami Beach – Dec 7

In Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Daata, Daata Editions, daataeditions, David Gryn, Miami, Miami Beach, New World Center, New World Symphony, Pratt, Uncategorized on 27/11/2017 at 10:57 pm

 

ABMA

Pratt x New World Symphony present
BLINK, BURN.

A unique performance during Art Basel in Miami Beach 2017
Followed by a cocktail reception co-hosted by Pratt Alumni Miami Network

Thursday, December 7
6pm Performance
7pm Reception

SunTrust Pavilion, New World Center, 500 17th Street, Miami Beach

Free and open to the public; reservations and more information at

http://www.nws.edu/events-tickets/concerts/blink-burn/

FACEBOOK EVENT

Please join us for BLINK, BURN, a new addition to the landscape of Art Basel in Miami Beach. This collaboration between Pratt Institute and New World Symphony (NWS) explores the creative possibilities that emerge when film/video artists engage deeply with sound artists/musicians. This yearlong collaboration, conceived by David Gryn, curator of Film & Sound for Art Basel in Miami Beach and Director of Daata Editions, will culminate in a high-profile visual/aural event on December 7 during Art Basel in Miami Beach. It will feature original video work by select Pratt students accompanied by NWS fellows’ live sound performance.

PROGRAM

BLINK, BURN, led by Lisa Crafts at Pratt and Michael Linville at NWS and London based artist Molly Palmer, encompasses four different video and musical pieces that explore the general theme of human impact and the multifaceted, complicated nature of humanity.

Lifeblood

Composed by Christopher Hernacki (Bass Trombone Fellow) and Zach Manzi(Clarinet Fellow)
Performed by Nick Castellano (Horn Fellow), Christopher Hernacki and Zach Manzi
Moving Images by Alexander Mejia with creative partner Sieanna Janae Williams

Lifeblood is an exploration of urban existentialism through the depiction of the interior and exterior spaces we inhabit; a suggestion of the relationship between our biology and the structures around us. This piece features sequences of textured video layers, cutouts and deep instrumentation to weave the genetic fabric of our collective experience.

Zodiac Suite

Performed by Andrew Chilcote (Bass Fellow)
Moving Images by Lou Goncalves

Zodiac is a textured moving image work that interacts with a live performance to create a dialogue between the sound and the image. It combines hand–processed 16mm film and handmade colored pencil drawings with digital software. The style, color and timing of the images were inspired by the musical momentum, intensity and notations of Lucas Drew’s Zodiac Suite as performed by Andrew Chilcote.

Ex Materia

Mary Reed (Bass Fellow): performing her original composition: Cosmicomics
Moving Images: Natalie Carvallo, Emma Dold, Holly Durgan, Lauren Kolar

The cyclical nature of creation and destruction is explored in this scrolling exquisite corpse. Ex Materia combines stop-motion, hand drawn animation, collage and live action video to create an otherworldly universe inspired the hypnotic composition Cosmicomics by Mary Reed.

Utopia

Utopia, composed by Ludek Wojtkowski (Violin Fellow)
Moving Image by Christopher Rutledge with creative partner Lauren Pedrosa

What will happen after sea levels rise? What life will emerge from a post-human climate? Through animation, drone footage shot over Miami and a combination of live and pre-composed audio, Utopia addresses these questions.

https://www.pratt.edu/the-institute/public-programs/

Conception idea:

The idea to bring both entities together has emerged after my many years of working with Art Basel in Miami Beach as both Film and Sound Curator, and hosting the screening program taking place in Soundscape Park at the New World Symphony. It is aimed at the empowerment of students and future artists at the time of the annual city’s focus of the art fair and bring student bodies together to explore true collaboration, which for any filmmaking and most creative disciplines is so valuable and vital. (David Gryn)

Screen Shot 2017-11-27 at 22.55.26

Film & Sound at Art Basel in Miami Beach 2017

In 303, Anat Ebgi, Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Chicago Film Archives, Corbett Vs. Dempsey, Daata, Daata Editions, daataeditions, David Gryn, Gio Marconi, Hans Berg, Jen DeNike, Jibade-Khalil Huffman, Lisson, Tin Ojeda, Uncategorized on 21/11/2017 at 3:12 pm
Screen Shot 2017-11-21 at 14.58.59

Art Basel in Miami Beach 2017 – Trailer

From December 7 to December 9, 2017, Art Basel will present a premier program of film and video works that focus on the universal language of dance and movement. Selected from the show’s participating galleries by David Gryn, Director of Daata Editions and Artprojx, this year’s program will present films by artists Jibade-Khalil Huffman (Anat Ebgi), Jen DeNike (Anat Ebgi) and Tin Ojeda (303), as well as a series of short films by Robert Stiegler, Samantha Hill, Morton & Millie Goldsholl, Ruth Page, Larry Janiak, Helen Morrison & Sybil Shearer, Helen Morrison & Sybil Shearer, Latham Zearfoss all from the Chicago Film Archives (Corbett Vs. Dempsey) collection. Sound is by Hans Berg (Gio Marconi, Lisson). These featured artist programs take place at SoundScape Park, New World Symphony, Miami Beach.

TRAILER

In addition, Marian Masone, New York-based film curator, has selected ‘Boom For Real: The Late Teenage Years of Jean-Michel Basquiat’ (2017), directed by Sara Driver, for a special cinema screening. Art Basel, whose Lead Partner is UBS, takes place from December 7 to December 10, 2017 at the Miami Beach Convention Center.

Full Press Release: ABMB_2017_l_Film_announcement

Chicago Film Archives

 

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Image still: Free Jazz Vein 2017, Tin Ojeda (303 Gallery)

David Gryn Interview on Artload

In Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Artload, Artprojx, Artprojx Cinema, Daata, Daata Editions, daataeditions, David Gryn, Digital, digital art, Uncategorized on 16/11/2017 at 3:52 pm

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The Artload interview, David Gryn

David is Founder/Director of Daata Editions and Artprojx and is Curator of Film & Sound, Art Basel in Miami Beach.

Interviewed by Artload’s Vivian Gandelsman

See full interview here: http://artload.com/video/david-gryn

Youtube

Pratt x New World Symphony = BLINK, BURN – Miami Beach, Dec 7

In Art Basel, Art Basel in Miami Beach, Blink Burn, New World Center, New World Symphony, Pratt, Uncategorized on 08/11/2017 at 3:32 pm

ABMA

Please join us this December!

Pratt x New World Symphony present
BLINK, BURN.

A unique performance during Art Basel in Miami Beach 2017
Followed by a cocktail reception co-hosted by Pratt Alumni Miami Network

Thursday, December 7
6pm Performance
7pm Reception

SunTrust Pavilion, New World Center, 500 17th Street, Miami Beach

Free and open to the public; reservations and more information at

http://www.nws.edu/events-tickets/concerts/blink-burn/

FACEBOOK EVENT

Please join us for BLINK, BURN, a new addition to the landscape of Art Basel in Miami Beach. This collaboration between Pratt Institute and New World Symphony (NWS) explores the creative possibilities that emerge when film/video artists engage deeply with sound artists/musicians. This yearlong collaboration, conceived by David Gryn, curator of Film & Sound for Art Basel in Miami Beach and Director of Daata Editions, will culminate in a high-profile visual/aural event on December 7 during Art Basel in Miami Beach. It will feature original video work by select Pratt students accompanied by NWS fellows’ live sound performance.

PROGRAM

BLINK, BURN, led by Lisa Crafts at Pratt and Michael Linville at NWS and London based artist Molly Palmer, encompasses four different video and musical pieces that explore the general theme of human impact and the multifaceted, complicated nature of humanity.

Lifeblood

Composed by Christopher Hernacki (Bass Trombone Fellow) and Zach Manzi (Clarinet Fellow)
Performed by Nick Castellano (Horn Fellow), Christopher Hernacki and Zach Manzi
Moving Images by Alexander Mejia with creative partner Sieanna Janae Williams

Lifeblood is an exploration of urban existentialism through the depiction of the interior and exterior spaces we inhabit; a suggestion of the relationship between our biology and the structures around us. This piece features sequences of textured video layers, cutouts and deep instrumentation to weave the genetic fabric of our collective experience.

Zodiac Suite

Performed by Andrew Chilcote (Bass Fellow)
Moving Images by Lou Goncalves

Zodiac is a textured moving image work that interacts with a live performance to create a dialogue between the sound and the image. It combines hand–processed 16mm film and handmade colored pencil drawings with digital software. The style, color and timing of the images were inspired by the musical momentum, intensity and notations of Lucas Drew’s Zodiac Suite as performed by Andrew Chilcote.

Ex Materia

Mary Reed (Bass Fellow): performing her original composition: Cosmicomics
Moving Images: Natalie Carvallo, Emma Dold, Holly Durgan, Lauren Kolar

The cyclical nature of creation and destruction is explored in this scrolling exquisite corpse. Ex Materia combines stop-motion, hand drawn animation, collage and live action video to create an otherworldly universe inspired the hypnotic composition Cosmicomics by Mary Reed.

Utopia

Utopia, composed by Ludek Wojtkowski (Violin Fellow)
Moving Image by Christopher Rutledge with creative partner Lauren Pedrosa

What will happen after sea levels rise? What life will emerge from a post-human climate? Through animation, drone footage shot over Miami and a combination of live and pre-composed audio, Utopia addresses these questions.

https://www.pratt.edu/the-institute/public-programs/

Conception idea:

The idea to bring both entities together has emerged after my many years of working with Art Basel in Miami Beach as both Film and Sound Curator, and hosting the screening program taking place in Soundscape Park at the New World Symphony. It is aimed at the empowerment of students and future artists at the time of the annual city’s focus of the art fair and bring student bodies together to explore true collaboration, which for any filmmaking and most creative disciplines is so valuable and vital. (David Gryn)

 

 

 

 

 

Sue de Beer on Daata Editions

In Art Basel, Barcelona, Daata, Daata Editions, daataeditions, David Gryn, Film, LOOP, Marianne Boesky, Sue de Beer, Uncategorized, Video on 22/05/2017 at 4:01 pm

debeer-daata-film1-still-a

Daata Editions has just announced the release of four new artworks by Sue de Beer specially commissioned for the platform.

This poem is me and it’s nothing but words about you I hope you like it (1 & 2)
Make up / sound test for a were-wolf film
(1 & 2)

Sue is a recent recipient of a Guggenheim Fellowship and is represented by Marianne Boesky Gallery, New York. Sue de Beer’s artwork release on Daata coincides with the LOOP Fair, Barcelona and Art Basel in June.

Khary Simon, a creative director and publisher based in New York, interviewed Sue de Beer on her 4 films for Daata Editions.

Are the films intended to be presented in a specific order?

No. They are separate but connected. I do watch them in the order of 1, 2, 3, 4. I cut them in the order of 1, 2, 3, 4. The first two naturally connect, and the last two naturally connect. So do 1 and 4. So do 2 and 3.

Is beauty fragile and or dangerous?

Yes. Fragile.

What about terror can be erotic or beautiful?

Everything.

Do you cherish objects of girlhood or wish we did?

Yes.

What is the origin of titles 1 and 2?

This poem is me
and it’s nothing but
words about you
I hope you like it

It’s from a Dennis Cooper poem – one that he contributed to my first catalogue. I think it’s beautiful. Shifts around the watcher and the watched.

Sue de Beer’s work is located at the intersection between film and installation, sculpture and photography. Solo exhibitions include the Kunst Werke, Berlin, the Whitney Museum of American Art at Altria, the MuHKA Museum in Antwerp, Los Angeles Contemporary Exhibitions in Los Angeles, The Park Avenue Armory, New York, as well as at Marianne Boesky Gallery.

The artworks start from $200. http://daata-editions.com

TRAILER

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