David Gryn blog

Archive for the ‘Artprojx Cinema’ Category

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

Screen Shot 2017-11-16 at 15.41.22

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


Strangelove Moving Image Festival 16-20 March 2015

In Art Basel Miami Beach, Artprojx, Artprojx Cinema, Central St Martins, CSM, Daata, Daata Editions, David Gryn, Kings Cross, Strangelove, Terry Smith, University of the Arts, Workinprogress on 27/02/2015 at 12:59 pm

Still from OM Rider (2013) by Takeshi Murata, courtesy Salon 94 and Ratio 3

Central Saint Martins is pleased to announce Strangelove – an ambitious college wide moving image festival devised and programmed in collaboration with artist Terry Smith (workinprogress) and curator David Gryn (Artprojx).

Usingspaces throughout the Kings Cross campus the festival programme will include screenings, installations, talks, workshop, events and symposia to generate cross-disciplinary discussions and draw attention to the way moving image has become an inescapable part of our everyday experience.

The festival will celebrate the diversity of moving image practice and explore the relationship between art, fashion, communication design, drama, performance and popular culture featuring the work of students through to prominent and established international artists, designers, directors, screen writers and performers.

19 events, as well as the exhibition in the Lethaby Gallery, will be open to the public, allowing a glimpse into the fascinating and innovative world of moving image at Central Saint Martins.

Throughout the Festival there will be an information desk in the Crossing at the front of the Granary Building.

Featuring artists including:

Anne Bean, Babette Mangolte, Beatrice Gibson, Brian Alfred, Brian Bress, Cecile B. Evans, Charles Richardson, Ciprian Mureşan, Clunie Reid, Dara Birnbaum, David Blandy, Douglas Gordon, David Austen, David Bickerstaff, Elizabeth Price, Gary Stevens, Gun Holmström, Hayal Pozanti, Jennifer Reeder, Joan Jonas, John Smith, Jon Rafman, Jordan Baseman, Kevin Frilet, Larry Achiampong, Laurie Simmons, Leo Gabin, Livia Benavides, Mark Wallinger, Marnie Weber, Martha Rosler, Maya Watanabe, Mikhail Karikis, Nate Boyce, Ornana Films, Parker Ito, Paul Bush, Prem Sarjo, Rachel Rose, Rashaad Newsome, Saya Woolfalk, Scott Reeder, Stephen Irwin, Susan Hiller, Tabor Robak, Takeshi Murata, Tony Grisoni, Veronika Reichl, Vest&Page, Wolfgang and Christoph Lauenstein, Yan Xing and many many more artists, film makers, students, teaching staff with their works from across the Central Saint Martin’s creative and artistic disciplines and output.

For the official and comprehensive information with booking details – see http://strangelove2015.tumblr.com/

Tuesday 17th March | 14.30 – 17:30
Studio Theatre
UAL staff and students only

Other guests can get access – more information on how – coming very soon – email artprojx@gmail.com


Armchair Surfers Digital Revolutionaries (Screening)

Tuesday 17th March.

14.30 – 17:30

Studio Theatre
UAL staff and students only

Curated by David Gryn and Terry Smith

We are all digital revolutionaries – as we use, observe and interrogate this ever-developing medium that extends, entrances and baffles us in equal measure. These programmes present works that engage with our everyday static surfing and obsessive interaction with the natural language andour enamour with all things digital and internet.

Screening programme


Still: Un Chien Andalou, Ciprian Mureşan 2004, 51” David Nolan Gallery, Wilkinson Gallery

Part 1: IP Overlords
Running Time: 48 mins

Un ChienAndalou, Ciprian Mureşan 2004, 51” David Nolan Gallery, Wilkinson Gallery
A-PHAN-OUSIA, Maya Watanabe 2008, 4’45” 80m2 LiviaBenavides
Rock Your Body, Brian Bress 2005, 4’45” Cherry and Martin Gallery
A Lifetime of Likes, Hayal Pozanti 2014, 25” Jessica Silverman Gallery
Vatican Vibes, Tabor Robak 2011, 5’16”, team gallery
The Tent, Elizabeth Price, 2012, 12’, MOT International
IP Overlords, Hayal Pozanti 2014 12” Jessica Silverman Gallery
Oh Baby, Leo Gabin, 2013, 2’49” Elizabeth Dee Gallery, Peres Projects
Scroll Sequence, Nate Boyce, 2014 5’33” Altman Siegel Gallery
OM Rider, Takeshi Murata 2013 11’39” Salon 94, Ratio 3
Mobile Blinders, Hayal Pozanti 2014, 15” Jessica Silverman Gallery

Parker Ito Wipeout XL 2014 (screen res) 4

Still: Wipeout XL (Miami Beach), Parker Ito 2014, 15’44” Chateau Shatto

Part 2: Wet Dave (boom boom)
Running Time: 50 mins

ChimaTek: Hybridization Machine, Saya Woolfalk 2013 3’40” Leslie Tonkonow Gallery
Under Thunder and Fluorescent Lights, Brian Alfred 2014 3’, Ameringer McEnery Yohe
Wipeout XL (Miami Beach), Parker Ito 2014, 15’44” Chateau Shatto
Virtual Diaspora, Hayal Pozanti, 2014 22” Jessica Silverman Gallery
Rehearsal (Miami edit), Charles Richardson, 2014 4’ Cabin Gallery
A Minute Ago, Rachel Rose 2014 8’43’’ Pilar Corrias Gallery
Empathy Box, Hayal Pozanti 2014, 22” 2014, 25”, Jessica Silverman Gallery
Wet Dave (boom boom), Clunie Reid 2009 5’34” MOT International
KNOT, Rashaad Newsome 2014 4’ Marlborough Gallery
Juan Gris Dream House, Jon Rafman 2013 2’ Zach Feuer Gallery

Barefoot Skank

Soundtrack to Samurai Story by David Blandy, Barefoot Skank, by Nick Raphael / Manasseh Sound System with Artprojx in Dub

Part 3: How happy a thing can be
Running Time: 47 mins

Samurai Story, David Blandy and Manasseh 2008 8’10” Seventeen and Artprojx, commissioned by Parabola
How happy a Thing can be, Cecile B. Evans 2014 9’30’
How to make extinction, David Blandy 2014, 9’48”, Seventeen
F for Fibonacci, Beatrice Gibson, 2014, 16’20” Laura Bartlett Gallery
To Bite, Biters (Larry Achiampong and David Blandy), 2015, 3’35”

morgan sucker

Still: A Million Miles Away, Jennifer Reeder, 2014

Wednesday 18th March


Studio Theatre

In Focus screenings by

Martha Rosler

Mark Wallinger

Susan Hiller

Douglas Gordon

Yan Xing

Jordan Baseman

Laurie Simmons

Scott Reeder

Jennifer Reeder

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




David Gryn


Artprojx worldwide

Curator, Art Basel in Miami Beach Dec 2015

Daata Editions launching May 2014


Martha Fiennes – Nativity and a talk on Digital Art at the V & A – Fri 19 Dec 6.30

In Art Basel, Artprojx, Artprojx Cinema, BFI, digital art, Discussion, Kensington, MPC, Nativity, SLOimage, V & A on 18/12/2014 at 10:06 am

Martha Fiennes: Nativity (still)

Martha FiennesNativity

and a discussion on Digital Art with:

Martha Fiennes, Pete Muggleston, Francesca Gavin, Eddie Berg, and David Gryn

Friday 19 December, 6.30pm-8pm 

Victoria and Albert Museum

South Kensington
Cromwell Road
London SW7 2RL

The Lydia & Manfred Gorvy Lecture Theatre


EVENING EVENT: Join award-winning artist and director Martha Fiennes and producer Pete Muggleston in discussion with the writer, curator and visual arts editor Francesca Gavin, the film and creative technology specialist Eddie Berg, and David Gryn, Director, Artprojx worldwide and curator, Film at Art Basel.

The discussion is chaired by Ben Latham Jones, Head of Ealing Studios and Film Producer. They will talk about the launch of the world’s first digital painting – SLOimage Nativity. Completely self-generating, the mesmerising image has been inspired by the great paintings of Renaissance art. The panel will discuss this project and the possibilities opened up by the new technology.

Organised in collaboration with SLOimage

Find out more about SLOimages.

18.30 – 20.00

Free, booking essential

or via the V & A bookings office +44 (0)20 7942 2211


David Gryn Notes for the talk:

The future is digital. …. No … The future is humans.

I work with artists film with a speciality in artists digital moving image and sound. But my real interest is in people. People as audience, artists, collaborators, technical and venue support, networks of marketing support, artworld connections.

I generally aim to work on projects with people I like, trust, admire and the chances are is that I like something about their work. There are very few artists whom I know I love their work. All other artists are making works that take on risk and usually I only know what I think after the outcome of working with them and digesting their work. Some times it takes years or even centuries.

There are reasons based on humans chemistry why we like certain artworks, artists, projects. Often we have no knowledge of the work before seeing it. We pay to see films without knowing or liking the works in advance.

The artworld is very particular and very peculiar. And it is always curious that there is an inherent demand and need to know more and be knowing prior, during and after an art experience – as opposed to just being with the work.

It is in this just beingness that I believe. The experience of music, film, theatre, ballet resides often in that moment of encounter with an art form. The forces that drive an audience are often the people in or connected to the work.

But we are getting to a point where I believe true art is being made using digital mediums as the enamour of the material is waning as it is such a natural language for most new artists now and the technology and distribution is increasingly better and cheaper. However audiences and consumers need to be worked on, developed, established, nurtured like all other art forms. One such method is the digital domain – And thus the mythology of social media. It is socialising we need at art events – social media is just a communications mean to an end. The end should be people are coming to an event. But with art it isn’t that straight forward.


Playing with Reel Life – David Gryn interview on ArtInfo

In ABMB, Art Basel, Art Basel Miami Beach, Art Fair, Art Video, Artprojx Cinema, Miami, Miami Beach, New World Center on 28/11/2014 at 11:32 pm

Takeshi Murata and Robert Beatty, OM Rider, 2013, 11’39”, Salon 94, Ratio 3

The creative harvest at Art Basel Miami Beach (ABMB) is so colossal that picking one stand-out event is an exercise in impossibility. However, despite the enormity of the art showcase, certain sectors of the ABMB — from nine that it has been sectioned into — always reap more audience mindshare than most others. The film sector is one of those hallowed events.

The film program of the ABMB 2014 is expectedly humungous in scale with over 80 films and videos to be screened. The films and video works have been selected by David Gryn, director of London’s Artprojx, who has culled out work from ABMB’s participating galleries. The showcase also includes a tribute to Harun Farocki, the Indian-origin German filmmaker who passed away recently.

Gryn speaks to Blouin Artinfo about the films being screened at ABMB 2014.

BA. Why did you choose ‘Playfulness’ as the theme of the film section for ABMB 2014?

DG: This year, my selection for the 4th edition of Film section has been driven by the notion of ‘Playfulness’: the playfulness of Internet gaming, online action, art making, dance and performing, color, sound and music. Most art making is playful by its very nature, however I have always designed the film program to consider audience engagement; the films selected reflect an exciting range of artist works that stimulate, enliven and rivet the audience, with captivating color, sound and process. This is not about showing art that is just easy to digest, but about showing art that is inherently engaging and encourages audiences to stay for an hour or three.

BA. Could you explain the selection process in detail?

DG: We have approximately 200 artist submissions from about 150 galleries at the fair. I work closely with many galleries to encourage their submissions of their artists. Galleries are usually the experts in their artists’ outputs. I see my role as a facilitator and enabler. Some galleries submit many entries and others, very few. My challenges are the galleries who do not submit at all, although some just do not represent any artists who use moving image. But my pleasure is the galleries who send me plenty.

Usually galleries who have seen the vast scale, brilliant sound and huge and receptive crowds are very happy to reapply each year. There are some galleries that I request artists from and some emerging artists that I introduce into the program.

BA. What are the most popular subjects that artists today are making films on?

DG: The internet and the multifarious worlds it intersects is an obvious subject. Art making remains at best when it is about making art but speaks to us about the essence of the human condition, without using a sledgehammer to make its point. True artists are constantly striving for a newness in their work and with the ever growing demands of making commodities, seek to turn to areas of art practice which have a difficult relationship with finance and demand an audience that actually looks, interrogates and digests their artworks.

BA. Is there a fundamental difference in the way artists approach the art of filmmaking today than it was about two decades back?

DG: The big change is the evolution over the last 20 years of digital technology. But the great artists remain few. There is a language of the internet that didn’t exist, but it is inherently about communication and it obsessively feeds our innate appetite for information and that is all about our need to co-exist with each other. Artists are now growing up with the online world as their natural language.

BA. Somehow, films by artists largely remain in the realm of documentary. Why is it so?

DG: Film and video by artists are another distinct artist medium like painting and sculpture. Filmmakers have often other concerns, however filmmakers like John Waters, Sophia Coppola, Ingmar Bergman are great artists whose art is film.

BA. At ABMB 2014, you are also going to give the talk — ‘Playfulness: Artists as Online Gamers, Surfers, and Armchair Digital Revolutionaries’. Could you explain?

DG: The title of the talk was central to my initial thinking for this year’s film programming, with a goal to have Tabor Robak speak, as he was one of my starting points. He curated the program that includes his work and that of Oliver Laric and Jon Rafman, they are leading lights amongst artists working in the digital art making sphere. I included Harun Farocki — whom I would have added anyway, but he sadly died in the process, so his inclusion is now a tribute to such a great artist, whom I spent much time with recently at the Loop Video Art Fair in Barcelona. Rachel Rose is the other artist on the panel, and her work had been introduced to me by Chrissie Iles, the brilliant curator of ‘Film and Beyond’ at the Whitney, and I am delighted she had agreed to be the moderator.

BA. Do films by artists find patrons with deep pockets just as visual arts do or is there still a financial divide between the two? 

DG: The positive financial world of artists’ films is still an evolving process. My role in doing this work with Art Basel evolved from the belief by the art fair that we still need to encourage galleries to show artists’ moving image, even if the market is very limited. It is an ever growing practice by artists — which has yet to fully find its commercial feet. This is indeed work in progress.

BA. What films would you suggest to a lay admirer of art who wants to educate himself on the subject? What is your personal all-time favourite film in the genre?


RACHEL ROSE, Palisades in Palisades, 2014

DG: There is a shot in a recent Rachel Rose film ‘Palisades in Palisades’, where the camera pans in on the flesh and v-neck part of a sweater, and you see the goosebumps next to the weave and texture of the sweater, and it is just a brilliant moment of human encounter in an artists’ work. That is currently my favourite moment by an artist film.

My advice is to regard us art organisers, curators, galleries as generally a good level of quality assurance, decision making conduits and filters to often really great work. To name any one artist would be disingenuous to others. However, to give you an answer, if Philip Guston was alive and could make films like his paintings then I would be truly happy with that, perhaps with the additional choreography of dancer Michael Clark and the melancholic balletic piano sounds of Chopin.



Film Art Basel in Miami Beach 2014 Overview

In ABMB, Art, Art Basel, Art Basel Miami Beach, Art Fair, Art Video, Artprojx, Artprojx Cinema, Cinema, David Gryn, Film, Miami, Screenings, SoundScape Park, Video on 26/11/2014 at 6:19 pm


Film: Art Basel in Miami Beach 2014. Curated by David Gryn, Artprojx – Overview


Playfulness – Wed Dec 3, 8pm

Hayal Pozanti, Wood & Harrison, Alex Rodríguez, Mark Leckey, Brian Bress, Elizabeth Price, Rachel Rose, Camille Henrot, Tomislav Gotovac, Taro Izumi, Laure Prouvost, Martin Creed


Armchair Surfers – Wed Dec 3, 9pm

Saya Woolfalk, Chris Doyle, Charles Richardson, Nate Boyce, Dashiell Manley, Florian Meisenberg, Leo Gabin, CAR (Conceptual Artists Research/Michelle Grabner) and David Robbins, Clunie Reid, Jayson Musson


Ex-Romance – Wed Dec 3, 10pm

Charles Atlas, Parker Ito


The Digital Revolutionaries – Thurs Dec 4, 10pm

Tabor Robak, Jon Rafman, Oliver Laric, Harun Farocki


Radio Ga Ga – Fri Dec 5, 8pm

Bill Balaskas, Frank Heath, Wagner Malta Tavares, Vartan Avakian, Susan Hiller


The Night of Forevermore – Fri Dec 5, 9pm

Ciprian Mureşan, Tomislav Gotovac, Olaf Breuning, Jose Dávila, Laure Prouvost, Maya Watanabe, Tim Davis, Marnie Weber, Hans Op de Beeck, Alex Prager


Rites of Spring – Sat Dec 6, 8pm

Rania Bellou, Dara Friedman, Pilar Albarracín, Marcel Dzama, Ana Roldán, Brian Bress, Rashaad Newsome, Babette Mangolte, Trisha Brown, Liu Chuang


The Magic of Things – Sat Dec 6, 9pm

Atsushi Kaga, Brian Alfred, Hiraki Sawa, Takeshi Murata, Robin Rhode, Theo Michael, David Shrigley, Mark Wallinger, Cécile B. Evans, Brent Green


Artists’ Surround Sound at Film ABMB – Wed 3/Thurs 4/Fri 5/Sat 6 at 6pm

Larry Achiampong, Jennie C. Jones, Stephen Vitiello, Raed Yassin


Playfulness: artists as online gamers, surfers and armchair digital revolutionaries. Talk at the ABMB Salon – Fri Dec 5, 2pm

Chrissie Iles, Rachel Rose, Tabor Robak and David Gryn


Art Basel Film Library

Includes all artists in the outdoor program plus

Gabriel Acevedo, Rita Ackermann, Chantal Akerman, Julien Berthier, Johanna Billing, Julien Bismuth, Botner & Pedro, Pia Camil, Stephen Dean, Elmgreen & Dragset, Haroon Gunn-Salie, Matthew Day Jackson, Daniel Jacoby, Zdjelar Katarina, Maria Laet, Pablo Lobato, Gerald Machona, Marcellvs L. De Caro Marina, Ana María Millán, Carlos Motta, Shana Moulton, Mark Neville, Jim Shaw, Alyson Shotz, Diana Thater, Stefanos Tsivopoulos, Adrián Villar Rojas, Jacques Villeglé & Raymond Hains, Heimo Zobernig

selected by David Gryn


11 More Musts in Miami

Auto Body




Art Basel in Miami Beach 2014 – in general


MEEM – Ryan McNamara/Performa


Public curated by Nicholas Baume


Conversation and Salon


Bass Museum


Rubell Family Collection


Design Miami


The Miami Beach Cinemateque


Pedro Reyes – ICA Miami



David Gryn




skype: Artprojx



SoundCloud: Miami Soundscapes 2013 by Max Reinhardt, DJ on Late Junction, BBC Radio 3.

Barefoot Skank – a soundcloud reissue

In Artprojx, Artprojx Cinema, David Blandy, David Gryn, Lone Pilgrim, Manasseh, Tate Britain, Whitechapel on 03/10/2014 at 1:42 pm


Barefoot Skank

From the Artprojx Archives – just for fun:

Artprojx Radio presents
the original soundtrack recording
Barefoot Skank
Barefoot Skank (Ark Dub Mix)
Produced and music by Manasseh
In Association with The Barefoot Lone Pilgrim / David Blandy
Executive Producer, David Gryn / Artprojx
2008 (Back in day)

Artprojx Dojo presents
The Barefoot Lone Pilgrim AKA David Blandy/Soul Seeker v
The Legendary Manasseh AKA Nick Manasseh/Dub Master

Live dub battle versions at: Artprojx Space, Tate Britain, Whitechapel Gallery



















Artprojx News and other nice things – September 2014

In Andrew Sabin, Artprojx, Artprojx Cinema, backyardlondon, David Gryn, FAD, FADwebsite, Iain Forsyth, Irina Brook, Jane Pollard, Laura Ford, Nick Cave, Nicola Thomas, Video Art on 08/09/2014 at 2:23 pm
photo 3

The Miami and Moscow Film Selections at Bermondsey Projects 12 Sept. Image: Kota Ezawa in the Moscow screening May 2014

Great things we are connected to – happening very soon.

What’s Wrong With Video Art at rosenfeld porcini gallery – 10 Sept with David Gryn, Tabish Khan, Mark Westall, Ian Rosenfeld.


The Miami and Moscow Film Selections. Bermondsey Projects. Plus other events. 12 Sept

Artists: Nick Abrahams, Cory Arcangel, Dara Birnbaum, Pierre Bismuth, Martin Creed, Nathalie Djurberg with Hans Berg, Kota Ezawa, Dara Friedman, Leo Gabin, Rashaad Newsome, Theaster Gates, William Kentridge with Philip Miller, Lina Lapelyte, Ari Marcopoulous, Ryan McGinley, Takeshi Murata with Robert Beatty, Laurel Nakadate, Nicola Thomas.


Facebook event

A Spell To Ward Off The Darkness at ICA, London
12 – 18 September 2014

Ben Rivers and Ben Russell Q&A with Steven Cairns: Fri 12 Sept at 8:45pm

Tickets from …

20,000 Days on Earth by Iain Forsyth and Jane Pollard – premieres and beyond





Peer Gynt after Henrik Ibsen by Irina Brook and Théâtre National de Nice at the Barbican


Andrew Sabin and Laura Ford’s new studio opening in West Sussex. http://andrewsabin.org/index.php?/events

Frieze Art Fair and Frieze Masters, London


and so many other things going on …









After/Hours/Drop/Box, Oliver Sutherland and HENGE – footage

In After/Hours/Drop/Box, Artprojx, Artprojx Cinema, David Gryn, Hackney Picturehouse, Henge, John Lawrence, Oliver Sutherland, Picturehouse on 04/09/2014 at 11:39 am

Artprojx Cinema presented…


Oliver Sutherland // HENGE

A one-off live event that featured artist Oliver Sutherland who produced a brand new CGI moving image work projected in Hackney Picturehouse’s large Screen One space during a full live set by HENGE. 29 May 2014

HENGE (London) play reflective, slow, burning, heavy punk rock.

Oliver Sutherland (b.1985, UK) graduated from the Royal College of Art, London, in 2012. Recent exhibitions include Home Theatre, Baró Galeria, Sao Paulo, Brand Innovations for Ubiquitous Authorship, Carroll/Fletcher, London, Chimera Q.T.E, Cell Projects, London and Sound Spill, Seventeen Gallery, London.

After/Hours/Drop/Box is a roaming platform for video and performance artwork which investigates the influence of the music video on contemporary art. www.afterhoursdropbox.com

Artprojx Cinema screens, curates and promotes artists’ moving image, working with contemporary art galleries, museums, art fairs and artists worldwide. www.artprojx.com/


What’s Wrong With Video Art ?

In Artprojx, Artprojx Cinema, David Gryn, FAD, Film and Video, Ian Rosenfeld, Mark Westall, rosenfeld porcini, Tabish Khan, Video Art on 31/08/2014 at 6:33 pm



What’s Wrong With Art ?

Wednesday 10th September


rosenfeld porcini gallery, 37 rathbone street, London, W1T 1NZ

Following a string of articles on Video Art initiated by art critic Tabish Khan and published on FADwebsite, invited guest speakers including David Gryn, Ian Rosenfeld, and Khan himself will give their views on the topic in a panel discussion chaired by Mark Westall at rosenfeld porcini gallery on Wednesday 10 September 2014. The panel will discuss what constitutes great video art, how it can go wrong and the commercial viability of the medium. The panel will start at 7:30pm. RSVP is required; please book tickets in advance on Eventbrite. Rosenfeld porcini gallery is currently showing a series of 4 video pieces by Korean artist Bongsu Park.


Time: 19:30

Where: rosenfeld porcini, 37 rathbone street, London, w1t 1nz

Tickets: £4



David Gryn
Curator, Film Art Basel Miami Beach
Director, Artprojx | www.artprojx.com

David Gryn is the founding director of Artprojx, which screens, curates and promotes artists’ moving image projects, working with international contemporary art galleries, art fairs, institutes, film festivals, websites and artists. Gryn also regularly lectures in European universities and art schools on curating, arts marketing, art world machinations and protocols, event management and general self-empowerment.
Upcoming: Artprojx presents ‘The Miami and Moscow Film Selections Artist Sound of Film’ ; 12 September 8.30pm at Bermondsey Project.
Tabish Khan
Art Critic, FAD & Londonist | http://londonist.com/contributors/tabish-khan

Tabish Khan has been art critic and visual arts editor for Londonist since 2012. He is a regular contributor to FAD including reviews, opinion pieces and a weekly top 5 exhibitions to see in London. He has chaired gallery panel discussions and has written a piece entitled ‘what’s wrong with video art?’

Ian Rosenfeld
Director, rosenfeld porcini gallery

Director Ian Rosenfeld was initially a photographer and film director. He founded rosenfeld porcini in June 2011 with Dario Porcini who has an extensive arts background in Italy. rosenfeld porcini is committed to showing contemporary artists from around the world with an innovative exhibitions programme.

Current exhibition: Sound and Vision | Keita Miyazaki & Bongsu Park (ends 30 Sept.)
Upcoming exhibition: Nicola Samorí | L’Âge Mûr (10 Oct – 20 Nov)

Mark Westall
Founder/Editor in Chief FAD | www.fadwebsite.com

Following his passion for art, Mark Westall founded FADwebsite in 2008. Focused on emerging and contemporary art, FAD aims to promote as well as develop our understanding of new and established talents. In addition to leading FAD, Mark is a director of fad.agency; a columnist for City and Canary Wharf Magazines; and expert advisor to bi-annual art fair Strarta.

From the FAD  discussion http://www.fadwebsite.com/2013/09/27/whats-wrong-with-video-art-an-answer-from-david-gryn/

David Gryn’s notes for/from the talk – added 12-09-14

Video Art notes by David Gryn 11-09-14

Thinking about being on the panel for “What’s Wrong With Video Art” felt like I had entered into therapy for the last few weeks thinking all about what’s wrong with video art, i.e. what is wrong with the art form I have been dedicated to working with for at least the last 15 years !!!

I’ve spent so long being involved in artists moving image – so either I’m an idiot or I’m an oracle – I prefer to think that I am the latter.

I came to this art form, as someone who cares about marketing, engagement and audience for contemporary art events. I am a facilitator, enabler, event deliverer, a middle man – I always aim to make things happen with simple means.

I believe that artists digital moving image is a very strong candidate for a medium that will become more dominant in artists work and therefore in the market place too. But it needs attention, work to make this happen and investment.

So much is so right with ‘video art’ …

However, we can’t sell it, its a bit noisy, its always moving, its often very dull, people loop it, show it in strange situations, it’s very hard to focus on …

What’s right about it: it’s part of our natural language, almost all of us use or observe moving image in someway all of the time, more and more artists work with it, it is engaging, challenging and like any great art medium, it is constantly evolving, shifting and developing.

How can we improve it’s status: we need more dialogues/communication, action, multi processes to exhibit it, marketing, belief in its inherent value and function.

Video Art in my context is the same as Film, Moving Image, Digital Art – it means it is an art process made by artists. I had issues with the name, as I had a cousin who studied video art at RCA in the 70’s and my family all thought he was such a geek. Now (if he was alive), I would probably be revering him. So I have personally always associated the two words Video Art, as something rather outdated and vintage. However, to give it its dues – it explains what we are talking about very easily.

Video Art, Artist’s Film, Artist’s Moving Image etc whatever the terms – is part of the Contemporary Art world pantheon of artist processes, but this is art within this area. This is not TV, Hollywood Film, Amateur Youtube enthusiasts – we are discussing artists from within the framework of the the Contemporary Art world and no further.

In my view Video Art and Film are synonymous. I had my programme in Miami called Art Video for several years and I worked with and on Art Basel to change it to ‘Film’. As somehow it makes more sense to me. As is is being shown at ‘Art Basel’ – that word Art does not have to appear. In the same way that I never show actual videos, I rarely show film, as now most materials I receive are digital files.

It would be great if there was a definitive term for artists moving image (that is far too many words). My favourite word is ‘Art’ – which I use for anything that is really good. Art is when I just believe it the work, when I feel compelled to give it terms – it is usually not good enough.

What interests me about Video Art is that is an art form that moves and has a duration, power, engages. Watching an audience transfixed in front of a work of ‘art’ for a few minutes upto hours is fantastic and always thrills me. I often think that the program I show in Miami is sometimes the only time during an art fair, that people really view and interrogate works of art.

I am passionate about audiences and the viewer. I have observed audiences closely over 20 years with regards to ‘video art’ and my own spin on it, is that sound is key. I generally watch with my ears. The aesthetic experience is vital, but my senses are usually over taken by audio and my engagement is therefore determined.

My view is that to make video commercially viable that we need to show it more and consistently and build its presence and marketing. There needs to be an understanding of its potential value by the galleries and museums. It needs to be centre of the art experience and not a side show or lure to non video art sales or just simply entertainment.  Audiences pay for access to art, and want to posses art when they believe in its truth as viewable and/or collectable.

I am directly involved in a new technology platform for showing video, sound and emerging technology moving image forms and have been advisory in several other new digital technology entities dedicated to showing artists moving image. I believe that there needs to many of these, like we have a competitive art market due to the vast numbers of galleries, but often digital platforms like to have market dominance – which I think is unhelpful.

I came to my project with the belief that to enable, encourage, empower an art market we need to motivate the collecting and purchasing of artists moving image (which rubs against my usual instincts for egalitarianism), as I have observed that everyone in the art world eco system takes an art form more seriously when is has a commodification value.

I believe from experience that art venues, organisations, galleries, event organisers, collectors will invest more in promoting, owning and supporting ‘video art’ – when they see it clearly in parity will the easier commodity art forms. However, it doesn’t need to be compromised and I believe it can be both free to all and have a collectable value.

However, part of my joy with ‘video art’, sound and some performance – is that it is not easy to commodify, it isn’t instantly attractive to all audiences and the works are not always instantly digestible with sound bites or able to be seen by everyone as art easily.

I do believe that art can be entertaining and the best art should be a language unto itself

There is often an overriding-emphasis on the remarkableness of history and the past in contemporary art and that experimentation is key, with knowledge of technology being paramount. I see art as unrelated to these concerns. If, for instance, someone was to tell me that the impressionist movement in painting was the greatest, due in part to its economic power over such a long period or due to its innovative qualities when it was being made, I would argue that it was simply not the case, as in my view most impressionist art is just not very good. The same applies to digital/video art processes. The fact that they are digital or ‘video art’ does not inherently make the art good. 

There are at any given moment in time very very few great artists and that goes for whatever process they are using be that paint, form, digital/video etc. A second tier of artists – veer towards the medium as paramount, as opposed to the message or the overriding aesthetic or quality of the art work, as though being an expert or dominant in a technology is a subtext for being a great artist in using that medium, which is just not the case.

Great art comes from simple means, truth, passion, commitment, engagement and ultimately the charisma of the artist. This is very hard to template to prescribe – but its rudiments are there to be observed and understood. 

Charisma is in my view a quality that really shifts the works from being just art to being great or at least potentially great art. There are ground-breaking artists, artists of all types, but only the ones who either have a charisma and/or their work is imbued with charisma, that can ride through the waves of mediocrity, and the sometimes very fine mediocrity, that is most art.

David Gryn
Curator, Film Art Basel Miami Beach
Director, Artprojx | www.artprojx.com https://davidgryn.wordpress.com


David Gryn is the founding director of Artprojx, which screens, curates and promotes artists’ moving image projects, working with international contemporary art galleries, art fairs, institutes, film festivals, websites and artists. Gryn also regularly lectures at universities and art schools on curating, arts marketing, art world machinations and protocols, event management and general self-empowerment. Current projects include Curating Film, Art Basel in Miami Beach 2014, Sound projects with Max Reinhardt and The School of Sound, curating at The Royal College of Psychiatrists, co-director/curator of the inaugural Strangelove Film Festival at Central Saint Martins 2015 and a digital art editions project launching in 2015.


The Miami and Moscow Film Selections – Artist Sound of Film – 12 Sept at Bermondsey Project

In Art, Art Basel, Art Basel Miami Beach, Artprojx, Artprojx Cinema, Bermondsey, Cory Arcangel, Dara Birnbaum, Dara Friedman, David Gryn, Film, Kota Ezawa, Lina Lapelyte, London, Martin Creed, Max Reinhardt., Miami Beach, Nick Abrahams, Nicola Thomas, Philip Miller, Rashaad Newsome, Ryan McGinley, Salon 94, Sigur Ros, Takeshi Murata, Tannery, Theaster Gates, William Kentridge on 29/07/2014 at 5:17 pm

Takeshi Murata – OM Rider 2013 courtesy the artist, Salon 94 and Ratio 3


Artprojx presents
The Miami and Moscow Film Selections
Artist Sound of Film
curated by David Gryn

with a Miami Moscow Mix playlist by Max Reinhardt


Friday 12 September 8.30pm

Bermondsey Project, 46 Willow Walk, London. SE1 5SF


The films selected are highlights of works that were originally selected and curated by David Gryn for the Film programme at Art Basel in Miami Beach over the last 4 years. The films were all played on the New World Symphony Center’s screening wall in Soundscape Park during the annual art fair. This selection was played outdoors in Moscow as part of the Museum Nights in May 2014 along with DJ Max Reinhardt.

These works all engage with music, rhythm and sound and remain resonant from their initial playing. They all have a power that is far beyond just the work, one that creates lingering memory with the viewer long after the work has been seen and finished. The selection of these was driven by their sound, engagement and that the language needed to digest these works is that of audio-visual. These works reflect on the current trends and modes of communication such as YouTube, TV, animation, gaming, social media and used to create new images, sounds and unexpected connections.

Nick Abrahams – ekki mukk, 2012, 10’30”
Cory Arcangel – Paganini Caprice No.5, 2011, 3’41”
Dara Birnbaum – Arabesque, 2011/2013, 6’37”
Pierre Bismuth – Following Elvis Presley’s Hands in Jailhouse Rock, 2011, 3’12”
Martin Creed – Work No. 1700, 2013
Nathalie Djurberg with Hans Berg – I wasn’t made to play the son, 2011, 6’27”
Kota Ezawa – Beatles Über California, 2010, 2’03”
Dara Friedman – RITE 2012
Leo Gabin – Stackin, 2010, 2’38”
Rashaad Newsome – The Conductor, 2005/2010, 6’18”
Theaster Gates – Breathing, 2010, 6’58”
William Kentridge with Philip Miller – Tango for Page Turning, 2013, 2’48”
Lina Lapelyte – Candy Shop, 2014
Ari Marcopoulous – Detroit, 2010, 7’32”
Ryan McGinley – Varúð, 2012, 8′
Takeshi Murata with Robert Beatty – OM Rider, 2013, 11’39”
Laurel Nakadate – 51/50, 2009, 3’09”
Nicola Thomas – Dancing with Monk, 2013, 2’55″

photo 2-1

Max Reinhardt and David Gryn in Moscow 2014

A Miami-Moscow playlist mix for Bermondsey Project by Max Reinhardt, dj/musician/broadcaster (Late Junction BBC Radio 3). Collaborating with David Gryn and Artprojx, Max created a soundscape for the Film programme at Art Basel in Miami Beach in 2013 (at the New World Center)and played a DJ set complimenting the David Gryn curated Film programme in Moscow earlier this year. Music by artists Rashaad Newsome, Lina Lapelyte, Larry Achiampong and traces of Miami and Moscow feature in the mix.

Artprojx, founded and directed by David Gryn, screens, curates and promotes artists’ moving image and sound, working with leading contemporary art galleries, museums, art fairs and artists worldwide.

For more information on the artists and other things related contact:
David Gryn, Artprojx – david@artprojx.com +447711127848


Part of the Bermondsey Project closing celebrations: http://bermondseyproject.com/future-exhibitions