David Gryn blog

Archive for the ‘Dara Friedman’ Category

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

Artprojx events May June July 2014

In Artprojx, Artprojx Cinema, Barcelona, Dara Friedman, David Blandy, Film, Fyodor Pavlov-Andreevich, Jane Bustin, John Lawrence, John Moores Painting Prize, Kota Ezawa, Larry Sider, Leo Gabin, Lina Lapelyte, London, LOOP, Mark Coetzee, Martin Creed on 15/05/2014 at 7:55 am
Lina Lapelyte, Candy Shop, video still_3’47. Photo Victoria Lucas

Still: Lina Lapelyte, Candy Shop

MAY 17

Artprojx presents The Miami Film Selections. Artist Sound of  Film at Moscow Museum Nights with artist sound and music by DJ Max Reinhardt

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




MAY 29

Artprojx Cinema presents… After/Hours/Drop/Box: Oliver Sutherland // HENGE

Hackney Picturehouse Cinema – Screen 1. 10pm Thursday May 29th. Tickets on sale now.





JUNE 5-7

3 Day Forum on Engaging audiences. LOOP Studies.  June 5-7 2014

In parallel with LOOP Fair and Festival


morgan sucker


Artprojx Cinema presents Teen and Keen at  Rich Mix for The Voice and the Lens – 14 June 

Artists: David Blandy and Larry Achiampong, Leo Gabin, Rachel Maclean, Rashaad Newsome, Tameka Norris, Jessica Ann Peavy, Jennifer Reeder





3D work by Jane Bustin

JUNE 26 – JULY 11

The Astonishing by Jane Bustin and Where are you ? by Lina Lapelyte at Austin Forum – opening June 26 with live performance and music by Lina Lapelyte




Jane Bustin in John Moores Painting Prize 2014 – July 5



JUNE 27 – JULY 19

Lions & Tigers & Bears by Nick Abrahams at The Horse Hospital – opening June 27




David Gryn david@artprojx.com http://www.artprojx.com +447711127848

Artprojx screening at Ikon Gallery – The Voice and the Lens

In Art Basel Miami Beach, Artprojx, Artprojx Cinema, Dara Friedman, David Blandy, IKON, Ikon Gallery, Kota Ezawa, Martha Rosler, Mel Brimfield, Rashaad Newsome, Sam Belinfante, Screenings, Terry Smith, Video Art on 09/11/2012 at 1:13 pm

Artprojx presents a selection of artists’ films and videos 


The Voice and The Lens at Ikon Gallery


David Blandy

Mel Brimfield

Kota Ezawa

Dara Friedman

Rashaad Newsome

Martha Rosler

Terry Smith


The Voice and the Lens: Part I 

at the Ikon Gallery, Birmingham

Friday 9 November, 7-9.30pm (doors 6.45pm)

Tickets £6 / £4 students & unemployed

Weekend pass £10.50 / £6.50 students & unemployed

To book visit www.bookwhen.com/ikongallery

See the full programme: http://www.ikon-gallery.co.uk/programme/current/event/711/autumn_almanac_the_voice_and_t/

Forthcoming projects – coming very soon: 

David Gryn / Artprojx curates for MOCAtv. The Poetics of Anxiety and Melancholia. Artists: Meredith Danluck, Jesper Just, Kerry Tribe, Matthew Stone, Nick Abrahams, Stuart Croft, Sam Samore and Thomas Nordanstad, Shoja Azari, Jumana Manna, Hans op de Beeck, Nicholas Provost, Susanna Wallinhttp://www.youtube.com/user/MOCATV

David Gryn / Artprojx curates Art Video for Art Basel Miami Beach 2012, Dec. Artists inc: Tim Davis, Adam Shecter, Ryan McGinley, Ragnar Kjartansson, Nick Abrahams, Ari Marcopoulous, Julieta Aranda, Melanie Smith, Sam Samore, Dineo Seshee Bopape, Julika Rudelius, Theaster Gates, Yoshua Okon, Jordan Wolfson, Mauricio Lupini, David Adamo, Jesper Just, Jack Early, Takeshi Murata, Terence Gower, Sefer Memişoğlu, Michael Sailstorfer, Gigi Scaria, Guy Ben-Ner, Cao Fei, Mircea Cantor, Andrea Bowers, Rashaad Newsome, Daniel Arsham, Drew Heitzler & Sam Sharit, Josiah McElheny, Daniel Steegmann Mangrané, Pedro Reyes, Rubén Ortiz Torres & Emmanuel Lubezki, Michael Portnoy, David Zink Yi, Chen Xiaoyun, Hu Xiangqian, Pierre Bismuth, Eija-Liisa Ahtila, Nate Boyce, Evandro Machado, William Kentridge, Adam Shecter, Ana Prvacki, Amar Kanwar, Robin Rhode, Marie Bovo, Hans Schabus, Simon Dybbroe Møller, Jumana Manna. 

Programme details: http://miamibeach.artbasel.com/global/show_document.asp?id=aaaaaaaaaaaznjk



David Gryn, Director & Founder of Artprojx screens, curates and promotes artists’ moving image projects, working with leading international contemporary art galleries, online platforms, art fairs, institutes and artists.

Artprojx projects have included: Art Basel Miami Beach, MOCAtv, Gagosian, White Cube, Sadie Coles HQ, Lisson Gallery, The Modern Institute, Whitney Museum, Tate Britain, ICA, Frieze Art Fair and artists have included: Christian Marclay, Dara Friedman, Santiago Sierra, Mark Wallinger, Christian Jankowski, Tracey Emin, Susan Hiller, Dexter Dalwood, Jeremy Deller, Wilhelm Sasnal, William Eggleston, Natalie Djurberg, William Kentridge, Luke Fowler. www.artprojx.com

Artprojx screening at The Voice and the Lens – Ikon Gallery 9 Nov

In Artprojx, Dara Friedman, David Blandy, David Gryn, IKON, Kota Ezawa, Rashaad Newsome, Terry Smith on 23/10/2012 at 9:33 am

Dara Friedman, Musical 2008 (courtesy the artist and Gavin Brown enterprise)

David Gryn / Artprojx programmes an evening of artists’ films and videos. Featuring artists: David Blandy, Mel Brimfield, Kota Ezawa, Dara Friedman, Rashaad Newsome, Martha Rosler, Terry Smith


The Voice and the Lens: Part I 

at the Ikon Gallery, Birmingham

Friday 9 November, 7-9.30pm (doors 6.45pm)

Tickets £6 / £4 students & unemployed

Weekend pass £10.50 / £6.50 students & unemployed

To book visit www.bookwhen.com/ikongallery


Performances and screenings

Second Floor Galleries

Adam de la Cour performs his interpretation of Kurt Schwitters’ seminal text performance piece, Ursonate, with Neil Luck, alongside his own performance pieces reimagining Al Jolson (La Nosloj), and I-Paine, a violent reading of Thomas Paine’s Rights of Man featuring martial arts…

Adam also performs Live Adult Chat, his new work with Bruce McLean, created especially for The Voice and the Lens (see Exhibition for details of Drumstick, the film counterpart to this performance).

Amy Cunningham performs Oracle, created for The Voice and the Lens (see Exhibition for details).

Neil Luck & Fiona Bevan present a new collaborative work incorporating Luck’s trademark post-symbolist foley and Bevan’s penetrating feminist subtexts. Their interrogation of recorded media takes the form of juxtaposed scenes drawing influences from Grand Opera to Soap Opera.

“Spine-tingling. Fiona Bevan completely transported me” Alex James, Blur

“Soulful and eccentric” Guardian

Dante Rendle Traynor performs a new work, building on his highly theatrical alter egos, together with his film something for everyone.

Luke Deane presents a performance of luke and luke like to look and listen (see details of the film in the Exhibition).

Sepideh Saii – Behind The Scene (2010)

This film features footage from La Vie en Rose, the Hollywood portrait of Edith Piaf. A young woman is seen intently watching and listening to ‘Piaf’ being called from her dressing room to perform on stage. When ‘Piaf’ finally exits her dressing room, so does our heroine, masking Piaf both visually and in audio by singing her own estranged tune.

Stella Capes – Knights Move Thinking (2009)

Shot with a single take, Knights Move Thinking sets up a struggle between performer and voice to construct an image for camera. A voiceover recites fragments from theatre scene-settings, whilst a ‘stagehand’ builds an abstract composition challenging what’s being described. The fixed camera endeavours to capture the unfolding composition, which is constructed in almost complete darkness.

Ed Atkins Delivery To The Following Recipient Failed Permanently (2011)

“Depth, both physical and emotional, is phony here: the back of a head as the most opaque, resistant thing I can think of; smoke as an explication of a particularly morbid kind of speech, like barium quaffed before an x-ray to illuminate those darkened paths inside you; words that seem caring– but which are in fact exploitative tropes conveyed with a cool impunity to anyone who’ll listen. Music! – especially for you.

Samuel Beckett – Not I (1972) 

Not I features a spot-lit mouth in an otherwise dark space, focusing on an actress’s mouth. The mouth utters at a ferocious pace a logorrhoea of fragmented, jumbled sentences which obliquely tells the story of a woman who appears to have suffered an unspecified traumatic experience. This performance, featuring Julianne Moore and directed by Neil Jordan, was made for the Beckett on Film project.

Anri Sala – Answer Me (2008)

Filmed in the abandoned dome of a Buckminster Fuller-designed surveillance station, the dome’s distinctive echo, triggered in the film by a man playing the drums in the large, empty space, drowns out all of the dialogue spoken by the female character, with the exception of the words that give the film its title.

Elsewhere in the galleries:

Simon Lewandowski demonstrates and performs with his automatic voice machines.

ARTPROJX Screenings 


Events Room, 7-9.30pm

Artprojx programmes a night of artists’ films and videos.

Featuring artists: David Blandy, Mel Brimfield, Kota Ezawa, Dara Friedman, Rashaad Newsome, Martha Rosler, Terry Smith

Director David Gryn writes:

‘Sound marshals my seeing and music dictates much of my moving image tastes. Quoting Bill Viola: “ .. sound … goes around corners, through walls, is sensed simultaneously 360 degrees around the observer and even penetrates the body …” All the artists that I have selected have taken the voice and made me want to watch their films and videos over and over again.’

ARTPROJX is a leading brand that screens, curates and promotes artists’ moving image and other art projects, working with leading international contemporary art galleries, art fairs, institutes and artists. Forthcoming project Art Video at Art Basel Miami Beach 2012

David Blandy – White and Black Minstrel Show (2007), From The Underground (2001), I Am (2003-04), Sons of Slaves (2006), and Secrets and Lies (2002)

Blandy’s work deals with his problematic relationship with popular culture, highlighting the slippage and tension between fantasy and reality in everyday life. Either as a white man mouthing the words to the underground soul classic “Is it because I’m black” in White and Black Minstrel Show (2007), or discovering his father courtesy of Star Wars in I Am (2003), Blandy is searching for his cultural position in the world.

Rashaad Newsome – Shade Compositions (2009)

Newsome’s Shade Compositions takes up the body language and voice of certain women of colour — wondering how a seemingly sassy street expression extends across the globe as an open vernacular.

Mel Brimfield – He Hit Me…And It Felt Like A Kiss (2011)

Singer Gwyneth Herbert performs a reworked version of Andrew Lloyd Webber’s Memories as a half-carved sculpture emerging from a block of marble, but wistfully regretting her abandonment by the sculptor having been relegated to storage when he became interested in abstraction.

Kota Ezawa – Beatles Über California (2010)

Ezawa’s mash up blends an animation of The Beatles’ 1964 performance on The Ed Sullivan Show with the Dead Kennedy’s ‘California Über Alles’.

Dara Friedman – Musical (2007/08)

For three weeks Friedman invited ordinary New Yorkers to burst into song on street corners, in coffee shops, museums and train stations. Friedman’s film collates those discrete happenings, creating a sprawling American musical that is by turns uproariously funny and devastatingly sad.

Martha Rosler – If it’s too bad to be true it could be disinformation(1985)

Rosler’s video uses a partially demagnetised videotape to engage problems of reading popular news media. This video presents news coverage of US conflicts in Latin America during the early 80s, which various media techniques for vilification, obscuring fact with allegation, propagating an illusion of truth.

Terry Smith – Unsung (2012)

Unsung is an homage to Robert Rauschenberg and Merce Cunningham, inspired by their performance at Dartington in 1964. It features vocalist Linda Hirst, who has worked with Cage, Berio, the Michael Nyman Band, Royal Opera House and many more.







Artprojx Newsletter May 2012

In Art, Artprojx, Artupdate, Dara Friedman, David Gryn, Film, Global Tour, Hamburg International Short Film Festival, Jesper Just, Kota Ezawa, London, Martha Rosler, Meredith Danluck, Mungo Thomson, Rashaad Newsome, Ryan McGinley, Ryan McNamara, Slater Bradley, Takeshi Murata, Untied Tastes of America, Video Art, Yael Bartana on 17/05/2012 at 3:54 pm

Kota Ezawa ‘Brawl’ courtesy Murray Guy Gallery, New York

Artprojx Cinema presents … Untied Tastes of America, artist’s films and video, selected by David Gryn.

Artists: Yael Bartana, Slater Bradley, Meredith Danluck, Kota Ezawa, Dara Friedman, Jesper Just, Ryan McGinley, Ryan McNamara, Takeshi Murata, Rashaad Newsome, Martha Rosler, Mungo Thomson.

28th Hamburg International Short Film Festival, May 29th – June 4th 2012



Artprojx 3 Day Course @ Artupdate Learning 12-14 June 2012

A three day course giving you an overview of the artworld and the tools to help you progress. The art world can seem a strange and difficult place to navigate, this course gives you the knowledge and understanding to help you find your way.

Artupdate Learning @ The Fashion & Textile Museum, 83 Bermondsey Street, London SE1 3XF.

The course is suitable for art students, recent graduates, artists, curators and anyone who want to get more insights into the artworld.

Space is limited, book by 31st May 2012 to receive the special introductory price. Booking and further information is available here http://www.artupdatelearning.com/artworld-business-promotion-summer-school

See more info at http://www.artprojx.com

Hamburg International Short Film Festival interview with David Gryn

In 3001 Kino, Artprojx, Artprojx Cinema, Cinema, Dara Friedman, David Gryn, Film, Hamburg, Hamburg International Short Film Festival, Jesper Just, Kota Ezawa, Martha Rosler, Meredith Danluck, Mungo Thompson, Rashaad Newsome, Ryan McGinley, Ryan McNamara, Slater Bradley, Takeshi Murata, Untied Tastes of America, Video Art, Yael Bartana on 07/05/2012 at 1:24 pm

Artprojx presents: Untied Tastes of America

Interview with David Gryn

IKFF: As the founder and director of Artprojx Cinema you are a true all-rounder and pioneer. How would you describe the background and motivation of your work?

David Gryn: I would say that my motivation for what I do is rooted in my early experiences as an art student/artist of seeing artists’ films and videos in the context of museums and galleries and I never found it satisfying and I could never watch anything from the beginning to the end, as I was always distracted, and wanted to socialize and yet I was always happy sitting in cinemas and being generally engrossed by whatever I watched and for long durations. So I started screening films in cinemas, which was not a new concept, but aiming at marketing and promoting the events and experiences in a similar way to how cinemas market mainstream film. I also like to show films that I enjoy listening to, as for me a great film is something that affects all my senses, but I always walk away from a film with a memory of its sound and music.

You liaise with galleries, museums, art fairs, distribution companies and corporations. During the Armory Show in March, Artprojx Cinema and AV-arkki brought video art to the silver screen at the SVA Theatre in Chelsea. Is the divide between the white cube and the
cinema dissolving?

I think the divide is ever increasing – but for the wrong reasons. The art world is kind of polarized between two forces: commerce and art. In my experience over the last ten years I have seen an ever increasing shift away from galleries showing moving image works at art fairs and yet there are more artists than ever making work in this way – so to understand this paradox you have to accept that galleries generally try and show work that sells and most moving image work does not. The galleries showing film may do so for a variety of reasons such as: the artist brings them notoriety/attention/kudos/credibility, the artist is excellent, there is a possibility of sales. In my view the art fairs, the galleries, museums, curators, critics are all filtering systems that help audiences to determine what is quality ›art‹, but can all be fallible. Generally most cinemas do not understand artists’ moving image and there is no real box office incentive to motivate them either. This is where Artprojx stands between the art world and the cinema – to make it clear as to what is being screened – that it is a work made by a visual artist and not by a filmmaker.

Despite the worldwide economic crisis, art objects sell at astronomical prices. What trend do you observe on the video art market?

I know many collectors who think that video art is very good value at present and a very small and unique market – so that buying top works is affordable and that it gives the collector a niche position. I think we are on the verge of artists’ moving image becoming a more valuable player in the art market. However, one of my interests in it as a medium is that it still generally resists the commercial imperative and concentrates on the message and/or the aesthetic.

Filmmakers and video artists use online platforms like YouTube and Vimeo to reach a wider audience. In 2010, The Guggenheim Foundation and YouTube partnered to launch the world’s first professionally curated search for short online films. Is online video capable of becoming an art form in its own right?

I think like anything, the best work made by good artists is good art regardless of where or on what it is shown. The problem lies with the agenda (commercial or political) of the platform and its partners and the presumption from audiences that all art is art, and by default anything can be art if you call it art. Which as any art saturated reader will know – that just isn’t the case. If the platforms and companies can have good people at the helm steering the art ship then it is likely that the work featuring on new platforms will be in safer hands. I am happy viewing art on YouTube and similar sites in much the same way I look at newspapers and TV, but I believe that the experiencing of art is generally social, physical, dramatic and that showing, sharing and seeing art online is a separate experience – and will evolve in different guises over many years.

Big names like Steve McQueen, Sam Taylor-Wood and Clio Barnard have ventured into the field of feature-length film. Does this have an effect on their credibility as artist filmmakers?

I think they are three very different artists, and I would say that knowing the work of Steve McQueen best – that he is a great artist. However, once you change jobs you become something else ¬– so I just hope that he can maintain the qualities he had as an artist into that of a mainstream filmmaker and that is not to say he won’t make art or that his films are not artful – but they are possibly restricted by the confines of commerce – which pure art is not (or should not be). But I would say I would name and include Bergman, Tarkovsky, Lynch, Waters, Sofia Coppola in my list of great artists in any medium.

You work all around the world, but as a London-based American you are especially familiar with both the US and European psyche. What kind of interactions, differences and similarities do you observe between the two continents in terms of video art?

I really don’t see art or life as having nationalistic boundaries or being defined by passports – so in essence and I state the obvious – the best artists make the best art whatever the medium or location. I would say that artists in urban centres – such as London and NY – have more opportunities around them to encourage their success and are more likely to merge into a network to help propel them. The interactions between artists often don’t take place due to the resistance to collaboration. The financial support mechanisms for artists are based on private funding/patronage in the USA against a more public funding system in Europe – and both have an effect on the art and its making.

You were the curator of Art Video at last year’s Art Basel Miami Beach. We are absolutely thrilled that you are going to show some works that were featured in the ›Americania‹ programme. The title is an amalgam of America and Arcadia which seems to be an oxymoron at first sight. What was the idea behind the selection of works and the designation of the programme?

This programme title ›Untied Tastes of America‹, like ›Americania‹ is an obvious play on words. It is the unrestricted visions of America both good and difficult. My thinking was moulded by seeing Martha Rosler’s one-minute film ›God Bless America‹, which packs a hefty punch via such simple means. Her anti-war work has a wit, sadness, introspection and a powerful message – that encouraged my thinking and selection of the other works in the programme.

Interview: Mirjam Wildner via e-mail.

German version:

Artprojx presents: Untied Tastes of America
Interview mit David Gryn

IKFF: Als Gründer und Leiter von Artprojx Cinema sind Sie ein echter Allrounder und Vorreiter. Wie würden Sie ihren Background und die Motivation für Ihre Arbeit beschreiben?

David Gryn: Ich würde sagen, die Motivation für das, was ich mache, liegt in meinen frühen Erfahrungen als Kunststudent beziehungsweise Künstler verankert. Damals sah ich Kunstfilme und -videos in Museen und Galerien und fand das nie befriedigend. Ich konnte mir nichts von Anfang bis Ende anschauen, weil ich immer abgelenkt war und mich lieber mit den Leuten um mich herum unterhalten wollte. Gleichzeitig gefiel es mir aber, im Kino zu sitzen und in das, was auch immer ich da sah, für einen längeren Zeitraum einzutauchen. Also fing ich an, Kunstfilme in Kinos zu zeigen. Dabei folgte ich zwar keinem neuen Konzept, aber mir ging es darum, die Veranstaltungen und Erlebnisse so zu vermarkten und zu promoten, wie es Kinos mit Mainstream-Filmen machen. Mir gefällt es, Filme zu zeigen, denen ich gerne zuhöre, denn meiner Meinung nach muss ein guter Film immer alle meine Sinne ansprechen. Wenn ich einen Film gesehen habe, bleiben immer der Ton und die Musik in meinem Gedächtnis hängen.

Sie arbeiten mit Galerien, Museen, Kunstmessen, Vertriebsfirmen und Unternehmen zusammen. Während der Armory Show im März brachten Artprojx Cinema und AV-arkki Videokunst auf die Kinoleinwand des SVA Theatre in Chelsea. Wird die Kluft zwischen White Cube und Kino kleiner?

Ich denke, die Kluft wird immer größer – aber aus den falschen Gründen. Die Kunstwelt bewegt sich gewissermaßen zwischen zwei Polen beziehungsweise Kräften: Kommerz und Kunst. Meine Erfahrung der letzten zehn Jahre hat gezeigt, dass Galerien immer mehr Abstand davon nehmen, Film- und Videokunst auf Kunstmessen zu zeigen. Gleichzeitig gab es aber in diesem Bereich noch nie so viele Künstler wie heute. Um dieses Paradoxon zu verstehen, muss man sich damit abfinden, dass Galerien generell versuchen Arbeiten zu zeigen, die sich gut verkaufen. Film- und Videokunst gehört nicht dazu. Galerien, die Filme präsentieren, können verschiedene Beweggründe dafür haben: zum Beispiel, weil der Künstler ihnen Bekanntheit, Aufmerksamkeit, Renommee beziehungsweise Glaubwürdigkeit verschafft; weil der Künstler hervorragend ist und die Verkaufschancen gut aussehen. In meinen Augen sind die Kunstmessen, Galerien, Museen, Kuratoren und Kritiker allesamt Filtersysteme, die dem Publikum dabei helfen festzulegen, was qualitativ hochwertige ›Kunst‹ ist. Aber keiner von ihnen ist unfehlbar. In der Regel verstehen die meisten Kinos nichts von Film- und Videokunst und da es sich nicht gerade um potenzielle Kassenschlager handelt, kann man sie dazu auch nicht motivieren. Genau an diesem Punkt zwischen der Kunstwelt und dem Kino vermittelt Artprojx. Wir machen transparent, was gezeigt wird, und dass es sich um die Arbeit eines visuellen Künstlers handelt und nicht um die eines Filmemachers.

Trotz der Weltfinanzkrise werden Kunstobjekte zu astronomischen Preisen verkauft. Welchen Trend beobachten Sie auf dem Markt für Videokunst?

Ich kenne viele Sammler, die der Auffassung sind, dass Videokunst gegenwärtig sehr preiswert ist und einen sehr kleinen und einzigartigen Markt darstellt, sodass der Kauf von erstklassigen Werken erschwinglich ist und der Sammler eine Nische für sich beanspruchen kann. Wir werden bald erleben, dass die Film- und Videokunst eine größere und wertigere Rolle auf dem Kunstmarkt einnehmen wird. Mich hingegen interessiert an dem Medium, dass es immer noch dem kommerziellen Imperativ weitgehend standhält und sich auf die Botschaft beziehungsweise auf die Ästhetik konzentriert.

Filmemacher und Videokünstler nutzen Online-Plattformen wie YouTube und Vimeo, um ein größeres Publikum zu erreichen. 2010 kooperierten die Guggenheim Foundation und YouTube, um den ersten professionell kuratierten Wettbewerb für Online-Kurzfilme aus der Taufe zu heben. Haben Online-Videos das Potenzial, sich zu einer eigenständigen Kunstform zu entwickeln?

Ich denke ganz allgemein, die beste Arbeit eines guten Künstlers ist gute Kunst, egal wo sie gezeigt wird. Problematisch sind die Absichten – kommerzielle oder politische – der Plattform und ihrer Kooperationspartner und die Annahme des Publikums, dass alles automatisch Kunst sein kann, wenn man es als solche bezeichnet. Und das ist, wie jeder Kunstkenner weiß, einfach nicht der Fall. Wenn die Plattformen und Unternehmen gute Leute am Steuer haben, ist es wahrscheinlich, dass die Arbeiten hier in urteilssichereren Händen sind. Ich schaue mir gerne Kunst auf YouTube und ähnlichen Seiten an. So wie ich Zeitung lese und Fernsehen gucke. Ich glaube allerdings, dass das Erleben von Kunst etwas Gemeinschaftliches, Physisches, Dramatisches ist. Das Zeigen, Teilen und Sehen von Kunst im Internet ist eine völlig andere Erfahrung und wird im Laufe der Jahre unterschiedliche Formen annehmen.

Große Namen wie Steve McQueen, Sam Taylor-Wood und Clio Barnard haben sich in den Bereich des Langfilms gewagt. Hat das einen Einfluss auf ihre Glaubwürdigkeit als Filmkünstler?

Ich denke, es sind drei sehr unterschiedliche Künstler. Ich bin mit Steve McQueens Arbeit am vertrautesten und würde sagen, dass er ein großartiger Künstler ist. Sobald man jedoch seinen Beruf wechselt, entwickelt man sich zu jemand anderem. Ich hoffe einfach, dass er die Qualitäten, die er als Künstler hatte, auch als Mainstream-Filmemacher aufrechterhalten kann. Und damit meine ich nicht, dass er keine Kunst mehr machen wird oder dass seine Filme nicht kunstvoll sind, aber sie werden möglicherweise durch den kommerziellen Rahmen eingeengt werden, was auf Kunst in ihrer Reinform nicht zutreffen sollte. Ich würde Bergman, Tarkovsky, Lynch, Waters und Sofia Coppola auf meiner Liste großartiger Künstler jeglichen Mediums nennen.

Sie arbeiten auf der ganzen Welt, aber als in London lebender Amerikaner sind Sie mit der amerikanischen und europäischen Psyche ganz besonders vertraut. Welche gegenseitigen Beeinflussungen, Unterschiede und Ähnlichkeiten beobachten Sie zwischen den zwei Kontinenten im Hinblick auf Videokunst?

Meiner Ansicht nach haben weder die Kunst noch das Leben nationalstaatliche Grenzen und sie lassen sich nicht über einen Reisepass definieren. Im Wesentlichen – und das ist nichts Neues – produzieren die besten Künstler die beste Kunst, egal in welchem Medium oder an welchem Ort. Ich würde sagen, dass Künstlern in Metropolen wie London und New York mehr Möglichkeiten zur Verfügung stehen, die ihren Erfolg fördern, und die Wahrscheinlichkeit ist größer, dass sie den Weg in ein Netzwerk finden, das ihnen dabei hilft weiterzukommen. Eine Zusammenarbeit zwischen Künstlern findet selten statt, weil sie sich vor Kollaborationen scheuen. Die finanziellen Fördermechanismen für Künstler basieren in den USA auf privater Unterstützung beziehungsweise Mäzenatentum, während es sich in Europa meistens um öffentliche Fördermittel handelt. Beide beeinflussen die Kunst und ihr Entstehen.

Sie haben letztes Jahr die Video Art auf der Art Basel Miami Beach kuratiert. wir sind sehr glücklich, dass Sie einige Werke aus dem ›Americania‹-Programm zeigen werden. Der Titel ist ein Amalgam aus America und Arcadia, was auf den ersten Blick widersprüchlich erscheint. Welche Idee stand hinter Ihrer Auswahl der Arbeiten und der Ausrichtung des Programms?

Der Programmtitel ›Untied Tastes of America‹ ist wie ›Americania‹ offensichtlich ein Wortspiel. Es geht um die unlimitierten Bilder von Amerika, sowohl um die guten als auch um die schwierigen. Meine Überlegungen nahmen Gestalt an, als ich Martha Roslers Einminüter ›God Bless America‹ sah, der einem mit solch einfachen Mitteln einen kräftigen Schlag verpasst. Ihr Antikriegswerk hat eine Scharfsinnigkeit, Traurigkeit, Introspektion und starke Botschaft. All das beeinflusste meine weiteren Überlegungen und die Auswahl der anderen Arbeiten des Programms.

Das Interview führte Mirjam Wildner via E-Mail im April 2012


IKFF_12_gryn_korrektur copy

Artprojx Cinema presents … Untied Tastes of America

In 3001 Kino, Artprojx, Artprojx Cinema, Dara Friedman, David Gryn, Hamburg, Hamburg International Short Film Festival, Jesper Just, Kota Ezawa, Martha Rosler, Meredith Danluck, Mungo Thomson, Paul Goodwin, Rashaad Newsome, Ryan McGinley, Ryan McNamara, Slater Bradley, Takeshi Murata, Untied Tastes of America, Yael Bartana on 09/04/2012 at 11:24 pm

Artprojx Cinema presents

Untied Tastes of America
artist’s films and video

selected by David Gryn

Yael Bartana – Tuning
Slater Bradley – Don’t Let Me Disappear
Meredith Danluck – Psychic Space (from North of South, West of East)
Kota Ezawa – Brawl
Jesper Just – Sirens of Chrome
Ryan McGinley – Entrance Romance (it felt like a kiss)
Ryan McGinley – Friends Forever
Ryan McNamara – The Latest in Blood and Guts
Takeshi Murata – Infinite Doors
Rashaad Newsome – The Conductor
Martha Rosler – God Bless America
Mungo Thomson – Untitled (TIME)

Dara Friedman – Musical & Dancer

28th Hamburg International Short Film Festival, May 29th – June 4th 2012 www.shortfilm.com

Screenings: Thursday 31 May at 7.45pm and 9.30pm
Zeise Kinos. Friedensallee 7. 22765 Hamburg www.zeise.de

Programme Rerun: Sunday 3rd June 5:30 pm at “3001 Kino” www.3001-kino.de

What is America? What is the state of American culture/society today? These questions, so often asked the world over that it has almost become a banal enquiry into the general state of humanity, have never been so important as they are today. Globalisation is perceived and experienced by many to be synonymous with American culture and ideology. At the same time, this sense of the omnipotence of American culture is under severe strain in the wake of the global financial meltdown. To observe American culture today is perhaps to witness the (in)glorious ending of a particular way of life; a culture in decline; a society undergoing traumatic restructuring.

These are works by both American and foreign artists that explore the blurred borderlands of American culture and society. What is explored in these works is not America as a fixed, geographical location but America as an ‘idea/ideal’; a continuously evolving and shifting congeries of emotions, places, powers, infrastructures, populations and visions. Curatorial Text by Paul Goodwin.

Rosler’s simple and direct powerful anti-war message, and with Bartana a play on the national anthem. Newsome’s hip-hop hands meets Orff’s Carmina Burana, Bradley provides an alienated wondering around NY, McGinley plays with the power of advertising and pop culture, Danluck goes to the very bleak edge of David Lynch and John Waters territory. Murata takes on our obsessive TV culture and McNamara fuses performance, image and film to observe the absurd and difficult in our viewing culture. Jesper Just drives us around the economically challenged downtown USA city and confronts African-American stereotypes of women. Ezawa distills American culture into his unique animation aesthetic, whilst Thomson shows us the history of the US via all the covers of Time magazine. In a separate double-bill Friedman fills NY with the breakout song and Miami with dance.

David Gryn the Director of Artprojx works in collaboration with leading and emerging contemporary art galleries, artists, art museums and art fairs. Artprojx has worked with Art Basel Miami Beach (2011/12), Frieze Art Fair, ICA, Tate Britain, Whitney Museum (Mark Wallinger), Sadie Coles HQ (Wilhelm Sasnal), Salon 94 (Takeshi Murata), Gavin Brown enterprise (Dara Friedman), Gagosian (Dexter Dalwood), White Cube (Christian Marclay), Hauser & Wirth (Marcel Broodthaers), Victoria Miro Gallery (William Eggleston), The Modern Institute (Jeremy Deller) and many more.

Many thanks to the artist’s galleries:

Elizabeth Dee (Ryan McNamara)
Galleria Raffaella Cortese (Martha Rosler, Yael Bartana)
Gavin Brown’s enterprise (Dara Friedman)
Gavlak Gallery (Mungo Thomson)
James Cohan Gallery (Jesper Just)
Marlborough Gallery (Rashaad Newsome)
Murray Guy (Kota Ezawa)
Renwick Gallery (Meredith Danluck)
Salon 94 (Takeshi Murata)
Team Gallery (Slater Bradley, Ryan McGinley)


David Gryn




More information:

Yael Bartana
Tuning, 2001
one channel video
2 min

A single show, fixed frames video of a woman wearing a suit “Trapped inside the ritual! Of humming the U.S. National anthem while giving a military salute. She is accompanied by an orchestra off-camera playing the anthem’s music.

Yael Bartana (Israel, 1971) represented Poland at the 2011 Venice Biennial. She has been interested in relationships of power since a very early age, particularly, in instances of crude conflict. Her work simulates the imagery of history and political advertising using language drawn from old movies and magazines, while appealing to the discourse on power. Her films are marked by a unique sense of timelessness though they are underscored by a strong political concern, commenting on both social control as well as the innermost mechanisms of oral and visual language. Merging music and performance, Bartana notably stages a potent counterpoint of social roles.

Slater Bradley
Don’t Let Me Disappear, 2009-11
HD video projection, color, sound,
10:25 min

Though he has worked in a variety of media, Bradley is best known for his work in film. Don’t Let Me Disappear is a highly literate work which functions as an update on his previously shown Boulevard of Broken Dreams, which follows Bradley’s Doppelgänger, model and actor Benjamin Brock, as he wanders alone through New York City. Brock, who distinctly resembles Bradley, has been a consistent subject of the artist’s work over the past decade. While he acts in part as a stand-in for the artist, he does not necessarily portray him directly, instead representing a variety of figures, a kind of everyman.

The work strongly alludes to perhaps the best-known wanderer of New York City, The Catcher in the Rye’s Holden Caulfield. Like the Doppelgänger, Salinger’s iconically alienated character walks aimlessly through New York’s streets, critical of and emotionally removed from his surroundings. The Doppelgänger perceives an artificiality as he examines the city; his anguished expression as he absorbs the city recalls Holden’s condemnation of its “phonies.” At the end of Bradley’s film, the Doppelgänger finds and puts on a red hunting hat, identical to the one described in the novel, and in doing so transforms into Holden.

The film depicts the New York City of E.B. White’s famous essay Here is New York. White divides New York into three separate cities: that of the native New Yorker, that of the commuter, and, the most significant of the three, that of the transplant, for whom New York is a final destination. The inhabitant of this third New York, paradoxically, is surrounded by people but perpetually alone. Though he has long resided in New York, Bradley originates from San Francisco, and the film shows his delicate relationship with the City. It is one of intimacy and distance, awe and terror, adoration and distrust.

The Doppelgänger observes and touches the built environment and crowds of the city, all without actually engaging any person or thing. Bradley continually draws attention to the act of walking: the video opens with a shot of legs waiting at a crosswalk, then follows the walking feet of its subject, waiting two and half minutes before showing the rest of his person. Here, Bradley refers to to Walter Benjamin’s conception of the flâneur, Flaubert’s archetypal figure who strolls through the modern city. Benjamin’s flâneur perceptively observes his surroundings but remains wholly uninvolved with them. Department store window displays, like the ones the Doppelgänger desperately examines, are a product of the flâneur’s prevalence in the post-industrial city.

Throughout the video, the Doppelgänger’s disembodied voice mumbles brief passages from little-known Russian author Mark Levi’s mysterious 1934 Novel with Cocaine, which chronicles an adolescent male’s descent into hedonism and drug addiction during Russia’s tumultuous years 1916 through 1919. Like the novel, Don’t Let Me Disappear examines the depravity of a young man’s existence during a period of national strife.

Meredith Danluck
Psychic Space (from North of South, West of East), 2012
Hi-Definition video
6 min

Psychic Space (from North of South, West of East), is a a scene taken from Danluck’s feature film North of South, West of East in which a disgruntled auto industry worker, played by actor Ben Foster, seeks solace and escape from the numbing repetition of the factory through huffing solvent and nodding off in the men’s room. The simple beauty and rich inner life of the nod almost balance out the industrial toilet’s piss stained floor and grime caked walls. The film’s sound design rises and falls, creating a narrative arc on which to project a beginning, middle and end. Though one would think watching a man pass out on the toilet for over six minutes might get boring, the driving sound combined with Foster’s divine performance play into collective expectations of thrill, suspense and even comedy.

Meredith Danluck is an artist and filmmaker living and working in New York City. Danluck’s work mines the rich territory of the American dream through the tropes of Hollywood and narrative archetypes. She has exhibited at the Liverpool Biennial, Reina Sofia Museum, MoMA, PS1 Museum among others. She has screened films at a number of festivals including Toronto International

Film Festival, SXSW, Byron Bay, DocNYC and Margaret Mead. Her most ambitious work up to date is a four channel feature film entitled, North of South, West of East which was commissioned by Ballroom Marfa as part of a show called Autobody, curated by Neville Wakefield. These four narrative films play simultaneously in symphony. Danluck is represented by the Renwick Gallery.

Kota Ezawa
Brawl, 2008
digital animation transferred to 16mm, sound
Edition of 10
4:11 min

Brawl, 2008 is a 16mm animated film of a fight at a Pistons-Pacers basketball game that began with a foul and a cup of beer thrown from the stands and ended with the suspension of 9 NBA players. Accustomed to tracking the linear movement of the ball through the court, the televised video feed jerkily shifts and pans and zooms throughout the arena to show multiple points of conflict simultaneously unfolding. Ezawa describes the scene as reminiscent of a Rubens painting, for instance The Battle of the Amazons, 1598, where tension is dispersed across the surface. He layers multiple audio recordings into the film’s soundtrack, mixing the voices of the announcers with the sounds of players and audience coming from the stadium floor and catacombs.

Kota Ezawa transforms seminal moments in media history into vector-based images and animations reminiscent of classic cartoons. The resulting imagery, somewhere between Andy Warhol and South Park, is then re-presented in a number of formats including video, film and slide projection as well as lightbox, etching and collage. Ezawa’s material ranges in source from the iconic to the obscure, from commerce to politics, to entertainment and art: from the televised footage of the reading of the verdict in the O.J. Simpson trial through Richard Burton’s and Elizabeth Taylor’s on/off-screen marital strife John Lennon, Susan Sontag and Joseph Beuys speaking publicly on art as political protest, to the assassinations of two American presidents and the home videos of celebrities. Kota Ezawa was born in 1969 in Cologne, Germany. He studied at the Kunstakademie Düsseldorf, Germany, San Francisco Art Institute and Stanford University, Palo Alto, CA. He has had solo exhibitions at Matrix,

Jesper Just
Sirens of Chrome, 2010
RED transferred to Blu-ray
Edition of 7 + 2 AP
12:38 min

Excerpted from ‘Sirens of Chrome’: Jennifer Frias, Associate Curator, UCR Sweeney Art Gallery.
Gender and identity come into play as Just re-imagines the role of women to contradict mainstream pop-culture’s association with men and cars – the archetypal relationship between object and desire. In classical Hollywood cinema, as feminist film theorist, Laura Mulvey defined it; women are almost always represented in a sexualized way in order to appeal to a male audience. The spectator is in a masculine subject position and the woman as the object of desire. Just defies this argument in creating a reversal of roles where the women are the protagonists exhibiting two modes of the male gaze – the voyeur and the fetishist.

Just presents his unconventional storytelling with conventional elements of slick Hollywood films by exploring the dynamics of African-American women and defying their portrayal in mainstream cinema. Just has said, in making Sirens, he wanted to challenge the long list of films that depicted African-American women as one-dimensional sexual beings, savages and lascivious. From Birth of a Nation in the early 1900s to the “Blaxploitation” films of the 1970s, Black women were type-casted as carnal and promiscuous, often as prostitutes or “jezebels.” According to Just, the actresses in the video were allotted the opportunity to tamper into the persona of their role. In essence, the actresses took control of their portrayal by either confronting the associations with Black women cinema stereotypes or appropriating the identity commonly conveyed by the opposite sex. While the physical presence of a male figure is non-existent in the storyline, the women become lead figures embodying their being in a masculine domain.

Jesper Just’s films create a world in which both the viewer and the protagonist oscillate between dominance and submission. Having made over a dozen films since graduating from the Danish Academy of Art in 2003, Just’s work is characterized by romance-soaked narratives and a shared sense of mood, atmospheric milieus. Just’s pictures are notably conjured through the manipulation of both social and cinematic convention; his use of appropriation mutates to bend the conventions of mainstream Hollywood productions while building from their structure. Heavily influenced by film noir aesthetics, Just reveres the films of iconic directors such as Bob Fosse, Lars von Trier, Alfred Hitchock, David Lynch and Elia Kazan. Here, Just’s influences assist in informing visual tones through stylized sets and wistful music, elements as equally important to the films as the characters seen within them.

Shot on a variety of film stock, including 16 mm and 35 mm, Just’s works are rich with the textures of the medium. Just’s significant production value and international access to lush spaces and surrealistic backdrops yield epic works crafted with seductive cinematic charge.

Jesper Just was born in 1974 in Copenhagen, Denmark and lives and works in New York, NY. His work is in the collections of the Carnegie Museum of Art, Pittsburg, PA; the Guggenheim Museum, New York, NY; the Louisiana Museum of Modern Art, Denmark; the Moderna Museet, Stockholm, Sweden; the Museum of Modern Art, New York, NY; Tate London, London, UK and Sammlung Julia Stoschek, Germany among others. Just’s work has been the subject of solo exhibitions at the BALTIC Centre for Contemporary Art, Gateshead, UK; the Museum of Contemporary Art, Detroit, Michigan, The Calouste Gulbenkian Foundation, Lisbon, Portugal; the Brooklyn Museum, Brooklyn, NY and the Hirshhorn Museum and Sculpture Garden, Washington D.C.

Film stills and film courtesy of the artist and James Cohan Gallery, New York/Shanghai; Galerie Emmanuel Perrotin, Paris and Galleri Nicolai Wallner, Copenhagen. Copyright © Jesper Just 2010

Ryan McGinley
Entrance Romance (it felt like a kiss), 2010
color video, sound,
3:30 min

In Entrance Romance (it felt like a kiss) Ryan McGinley presents famous fashion model Carolyn Murphy (best known as the flawless face of Estée Lauder) with exquisitely drawn-out frames that showcase her most minute expressions as she endures actions of love and violence. Glass-shard explosions and gas-fueled flames are illuminated by soft golden light and set to a blissful soundtrack of meditative chanting. The result is a commingling of chaos and control as cinematic play and thrill-seeking collide with fleshly innocence and vulnerability. Just as the artist’s most well known photographs capture a youthful sublime within the boundless American landscape, Entrance Romance is a sumptuous portrait of enduring American adventure.

Ryan McGinley
Friends Forever, 2010
color & black and white video, sound,
5 min

Friends Forever presents a portrait of two young bands, Smith Westerns and Girls, and their fans. Shot at Pitchfork Music Festival 2010, McGinley closely observes details of the live performances with a fan’s adoring eye, his lens awash with atmospheric blurs and kaleidoscopic light amidst the sonic haze of warm, psychedelic guitars and reverb-loaded percussion. Friends Forever is an evolution of McGinley’s deep interest in the genre of rock photography, as seen in his 2006 photographs of fans at Morrissey concerts.

Youth, liberation and the joy of losing yourself in the moment are elements that feature throughout Ryan McGinley’s work, from his early roots in documenting the urban adventures of his downtown Manhattan friends to his subsequent cross-country travels in utopian environments throughout America to his most recent studio portraits. McGinley’s elaborate and rigorous process of photo-making creates moments of breathtaking beauty: naked feral kids poised in ecstatic abandon. The lack of clothing and other contemporary signifiers along with the archetypical landscapes give the photos a sense of timelessness in which the viewer can project his or her own story.

Over the years McGinley’s work has evolved from documenting reality toward creating settings where the situations are choreographed. The process of carefully staging and directing ‘happenings’, often in beautiful rural landscapes, is increasingly more cinematic in tone, while retaining the spontaneity of his early work.

Ryan McNamara
The Latest in Blood and Guts, 2009
black and white digital video with sound
5 min

Thirty five years ago in July, a newsreel jammed and could not be played during the Sarasota, Florida morning news program Suncoast Digest. Chubbuck, the host, brushed the glitch aside and said, “In keeping with Channel 40’s policy of bringing you the latest in blood and guts, and in living color, you are going to see another first-attempted suicide.” She then pulled out a .38 revolver from a bag of puppets she kept underneath her desk and shot herself behind the ear.

In one sense, The Latest in Blood and Guts is a memorial for the late newscaster Christine Chubbuck; it is also a rehearsal of Ryan McNamara’s childhood dream to be a variety show host. The video proposes a reenactment of trauma towards a therapeutic resolution that results in macabre parody. The friction between what the person portrays themselves as and what they are, dancing or dying, comically questions the distinction between life and death, and the paradoxical lifelessness of the moving image.

Ryan McNamara creates situation-specific works that collectively form an expanded view of participation within art production. His works involve other artists, viewers and dance professionals as collaborators. Created before and during after the performative events, photography and objects are integral to McNamara’s practice. He forms a uniquely social discourse, developing events that break with traditional notions of performance and embrace realism and interaction as necessary aspects of viewing experience. The participants themselves are central to the primary activity or action and McNamara is the engaged enabler of a situation he has authored with an undefined final outcome.

Welcoming uncertainty, McNamara has enthusiastically and intentionally pursued temporary and collaborative projects as diverse as biennial exhibitions, museum benefits, and one night performances in a variety of public and private spaces resulting in a truly fluid practice that intertwines the art community, social networks and technology.

Takeshi Murata
Infinite Doors, 2010,
digital video, color, sound
2:04 min

Infinite Doors draws on the determined staying power and unremitting stimulation of prize-oriented game show culture. Utilizing clips from The Price is Right, Murata edits a kinetic series of prize unveils. Unrelenting audience applause and an excessively animated announcer make the clip at once comical and peculiar. The superfluity of reward and overload of visual cues become absurd in their excess and begin to smother the very excitement they are meant to induce.

Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. Murata produces extraordinary digital works that refigure the experience of animation. His innovative practice and constantly evolving processes range from intricate computer-aided, hand-drawn animations to exacting manipulations of the flaws, defects and broken code in digital video technology. Whether altering appropriated footage from cinema (B movies, vintage horror films), or creating Rorschach-like fields of seething color, form and motion, Murata produces astonishing visions that redefine the boundaries between abstraction and recognition.

Murata has exhibited at The Museum of Modern Art, New York; Museum of Fine Arts, Houston, Texas; Yerba Buena Center for the Arts, San Francisco, California; Taka Ishii Gallery, Tokyo, Japan; Peres Projects, Los Angeles; Gavin Brown’s Enterprise, New York; Eyebeam, New York; FACT Centre, Liverpool, UK; Contemporary Arts Center, Cincinnati, Ohio; Mattress Factory, Pittsburgh, Pennsylvania; New York Underground Film Festival; Smack Mellon, Brooklyn, Foxy Production, New York, and Deitch Projects, New York, among others.

Rashaad Newsome
The Conductor, 2005-2009
six-part video installation with sound
Dimensions variable

Rashaad Newsome’s “The Conductor (Fortuna Imperatrix Mundi)” and “The Conductor (Primo Vere, Omnia Sol Temperat),” are the first and second parts of an ambitious six- part video installation that sets Carl Orff’s “Carmina Burana” against a video montage of expressive hand gestures extracted from popular rap videos, and a musical background of hip-hop beats. As Orff’s iconic oratorio opens with “O Fortuna,” a closely edited sequence of bejeweled gestures appears to conduct the music.

Rashaad Newsome was born in New Orleans, Louisiana where he received a B.A. in Art History at Tulane University before studying Film at Film Video Arts NYC as well as music production and programing at Harvestworks NYC . Newsome has exhibited nationally and internationally at such creditable institutions and Galleries as: The Whitney Museum of American Art, New York, NY; PS1MoMA, New York, NY; The New Museum of Contemporary Art, New York, NY; Wadsworth Atheneum Museum of Art, Hartford Connecticut; Centre Pompidou, Paris; ar/ge Kunst Galerie Museum, Bolzano, Italy; Garage Center for Contemporary Culture, Moscow, Russia and Galerie Stadpark, Krems, Austria. Recent awards include: 2012 Louis Comfort Tiffany Foundation Award, New York, NY, McColl Center for Visual Art Artist Residency, Charlotte, North Carolina, 2011, Artist in Residence, Pilchuck Glass School, Seattle, Washington; 2010 The Urban Artist Initiative individual Artist Grant, UAI, New York, NY; 2009 Rema Hort Mann Foundation, Visual Arts Grant, New York, NY and 2009 BAC Community Arts Regrant, New York, NY.

Martha Rosler,
God Bless America, 2006
One channel video
1 min

In this video work, Rosler presents a short but incisive statement. A Mechanical toy figure dresses as an American soldier plays “God Bless America” on a trumpet. The camera pans down, revealing that the toy’s camouflage-clad trouser leg has been rolled up to uncover a mechanism that looks uncannily like a prosthetic limb.

Martha Rosler has been an important figure in art since the 1960’s, contributing ground-breaking works in media including video, photography, installation, performance, photo-text and critical writing. Her work addresses social life and the public sphere, often staking out feminist and anti-war positions. She has been included in numerous international exhibitions, most recently the Singapore Biennale; WACK! Art and the Feminist Revolution at The Museum of Contemporary Art, Los Angeles, PS1 in Queens, and other venues; UnMonumental at The New Museum in New York; Documenta 12; and Skulptur Projekte Münster; and Ambitions d’Art at Institut d’Art Contemporain in Villeurbanne, France.

Among Rosler’s best-known works are her photomontages from the series Bringing the War Home: House Beautiful (1967-72), which combines war scenes with images of domestic comfort and high design. In the wake of the U.S. invasion of Iraq and Afghanistan, Rosler revisited the photomontage format, but reflecting the new spaces and technologies of war and its representations, in such works as Prospect for Today, Point and Shoot, and Invasion (2008).

Mungo Thomson
Untitled (TIME), 2010
DVD color video, silent
2:31 min

Mungo Thomson’s Untitled (TIME) flips through every cover of Time Magazine, from the first to the present, at a rate of one image per frame, 24 frames per second (i.e. 24 Time Magazine covers per second). This video can be seen as a study in cultural history done almost subliminally, as each viewer instantaneously recognizes specific images and text.

Mungo Thomson was born in 1969 in Woodland, California, and lives in Los Angeles and Berlin. He attended the Whitney Museum Independent Study Program in 1994, and received an MFA from the University of California, Los Angeles, in 2000. His work has been featured in solo exhibitions at Margo Leavin Gallery, Los Angeles; Gavlak Gallery, Palm Beach; John Connelly Presents, New York; the Kadist Art Foundation, Paris; GAMeC, Bergamo, Italy; and the Hammer Museum, Los Angeles. Recent group exhibitions include those at the Walker Art Center, Minneapolis; Menil Collection, Houston; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Vancouver Art Gallery; and the Museum of Contemporary Art, Chicago. Thomson’s work has also been shown in several biennial exhibitions, including 12th Istanbul Biennial in Istanbul, Turkey; the 2008 Whitney Biennial in New York; the 2008 Le Havre Biennale in Le Havre, France; and the 2004 California Biennial at the Orange Country Museum of Art, Newport Beach. Writings on his work have appeared in publications such as Artforum, Frieze, Flash Art, and Uovo.

Dara Friedman Double-bill

Dara Friedman
Musical 2007-2008
High-definition digital video
48 min

Dara Friedman’s video Musical plays upon the vitality of city life, especially on the crowded streets of midtown Manhattan, where unexpected and memorable encounters can be a daily occurrence. Friedman, who notes that she wants to “turn the volume up on the song that’s going on in your head as you’re walking down the street,” is interested in blurring the traditional separation between art and life, and between artist and audience. Like pebbles thrown into a lake,each performance causes a ripple effect that lasting a moment before the city returns to business-as-usual.

Dara Friedman
Dancer, 2011
Super 16mm film transferred to HD video, black & white, sound
25 min

Dancer documents a series of dances that took place on the streets of Miami. In the film, the performers have two dance partners: the camera and the city. The dancers, over 60 in all, represent a range of styles and ages – classical, street, ethnic and improvised. Movement was developed with choreography for and with the camera in hand. The work is in black and white, filmed with a hand-cranked Bolex in Super 16mm. The camera allows itself to be led, the film frame delineating the parameters of the stage, and the barrel lens sometimes catching the movement merely out of the corner of its eye. Inspired by the late Pina Bausch (1940-1990), Dara Friedman is not necessarily interested in “how people move, but rather, what moves them”. Performances are enmeshed with the soundtrack which paces the film throughout its 25 minute running time.

Dara Friedman is best known for her film and video installations, in which she employs techniques of Structuralist filmmaking to depict the lushness, ecstasy, and energy of everyday life. She often distills, reverses, loops, or otherwise alters familiar sounds and sights, drawing attention to the distinct sensory acts of hearing and seeing. Whether her work portrays a series of narrative fragments or a single evocative scene repeated over and over, Friedman heightens the emotional impact by cutting directly to the film’s climax in order to, as she puts it, “get to the part you really care about.”

Born in 1968 in Bad Kreuznach, Germany, Dara Friedman now lives and works in Miami. Her work has been featured in solo exhibitions at Miami Art Museum (2012, 2001); The Whitney Museum of American Art (2010) Gavin Brown’s enterprise, New York (2011, 2007, 2002); The Kitchen, New York (2005); The Wrong Gallery, New York (2004); Kunstmuseum, Thun, Switzerland (2002); Museum of Contemporary Art, Los Angeles (2002); and SITE Santa Fe, New Mexico (2001). Friedman attended University of Miami, School of Motion Pictures (MFA); The Slade School of Fine Art, University College, London; Städelschule, Frankfurt am Main, Germany; and Vassar College, Poughkeepsie, New York. Her work is included in the permanent collections of the Whitney Museum of American Art, New York; and the Museum of Modern Art, New York among many others.

Artprojx at Art Basel Miami Beach selecting the Art Video section

In Art, Art Basel Miami Beach, Art Fair, Artprojx, Artprojx Cinema, Dara Friedman, David Gryn, Miami, Pubic Art, Screenings, SoundScape Park, Tracey Emin, Video Art on 07/12/2011 at 10:08 am

Dara Friedman 'Dancer' - Gavin Brown enterprise

Artprojx and David Gryn have just returned from the very successful collaborative project with Art Basel Miami Beach 2011 selecting and curating their Art Video programme.

The screenings were on the 7000 sq ft wall of the Frank Gehry designed New World (Symphony) Center in SoundScape Park next to the Miami Convention Centrer. With its 35000 lumen projector and 186 speakers sound system.

We also programmed 5 wooden designed pods in the centre of the fair – where visitors watched a selection of the films curated. These were full with viewers for the duration of the fair.

There were 3 evenings of public screenings – where everyone was welcome from local homeless people to the very supportive Rubell family.

Rashaad Newsome 'The Conductor' - Marlborough Gallery

Dara Friedman’s Dancer was a highlight  – as it touched on so many buttons. It was a premiere of a film made in Miami, by a resident Miami based artist, with over 66 Miami based dancers in the film. It was also always the artist’s ambition for the work to feature on the exact spot I was selecting for – unbeknownst to me. And most importantly – the work is exceptional, and was ideal for this project. Dara felt that the sound was better than she could have imagined, and her gallery Gavin Brown enterprise – was happy as Larry (who ever he may be !).

Dara Friedman and David Gryn in conversation

Christian Jankowski 'Casting Jesus' trailer - Lisson Gallery

I also interviewed her for the Art Basel Miami Beach organised Art Salon series – where we were in conversation, and it all added to my greater knowledge of her and her work – and through this process I have determined that she is a sensational artist.

Ryan McGinley ' Entrance Romance (It felt like a kiss)' - Team Gallery

All 6 of the screenings had between 300 and 600 viewers at any one time. We had the multi-coloured Fatboy cushions that made the whole experience very comfortable – for locals, art world and indeed a very varied audience. Artprojx usuallly works in cinema contexts and this worked very well too – with the audience maintaining interest and focus over the 2 hours each evening – even when some of the work was slow and not of immediate impact.

The audience watching Art Video at SoundScape Park

Picture This in Bristol – helped to provide the best technical support known to mankind – they were brilliant, and there wasn’t a technical hitch in sight. http://www.picture-this.org.uk/

Martha Rosler 'God Bless America' - Galleria Raffaella Cortese and Galerie Christian Nagel

Other artists that stood out in this context were Rashaad Newsome, Kota Ezawa, Laurel Nakadate, Ryan McGinley, Jennifer Steinkamp, Penny Siopsis, Martha Rosler.

Neil Hamon ' Invasion' - Galeria Leme

Here are some links to reviews and clips on this project:



Art Newspaper TV




Kristin Juarez article in Burnaway


Art Basel Miami Beach – Art Salon video


Art Basel Miami Beach – Art Video Nights photos


Art Basel Miami Beach – Art Salon photos


Miami TV Channel LOCAL 10’s coverage of Art Basel Miami Beach




David Gryn 07711127848


David Gryn at the New World Center

Art Video pods

Art Video press release

In Art, Art Basel Miami Beach, Art Fair, Artprojx, Artprojx Cinema, Dara Friedman, Miami, SoundScape Park, Video, Video Art on 17/11/2011 at 4:08 pm




Art Basel Miami Beach 2011

Art Video: Public Screenings in SoundScape Park on the outdoor projection wall of the New World Center

For the 10th edition of Art Basel Miami Beach, the Art Video program will be presented for the first time in SoundScape Park on the 7,000-square-foot outdoor projection wall of the New World Center, as well as within five viewing pods inside the Miami Beach Convention Center. Selected by David Gryn, Director of London’s Artprojx, Art Video will feature film and video works by many of today’s most exciting international artists, presented by the galleries of Art Basel Miami Beach.

Over three nights, Art Video will present six screening programs. The Art Video Nights will open on Wednesday, November 30, with ‘Landscape’, a program that brings together film and video works with a literal or figurative take on the theme. Each work will take viewers on a curious journey to extraordinary places and unpossessed landscapes. Videos will include Tracey Emin’s ‘Sometimes the Dress is Worth More Money than the Money’, 2000/2001, and Lauren Grasso’s ‘1619’, 2007. The second program of the evening will feature Dara Friedman’s latest film ‘Dancer’, 2011, which turns Miami’s street corners into a stage. Filming its performers from a slow-moving van and simultaneously transmitting an upbeat soundtrack into various neighborhoods, passersby appear to be breaking into dance.

On Friday, December 2, ‘Americania’ will present a selection of short films inspired by Martha Rosler’s one-minute film ‘God Bless America’, 2006. The program will offer a distinctive window onto the United States and the multi-faceted reactions towards the country by various artists, including Yael Bartana and Marilyn Minter, who will show the premiere of ‘I’m not much, but I’m all I think about’, 2011. The ‘Music and Dance’ program will consist of a selection of films that play on the themes of music and dance and share a simplicity and an engagement that allow the viewer to observe the ordinary through extraordinary means. The selection will include ‘Paganini Caprice No.5′, 2011 by Cory Arcangel and Laurel Nakadate’s ’51/50’, 2009.

‘Painterly’, on Saturday, December 3, will combine film, animation, sculpture and painting in an intriguing way. The vigorous artists’ gestures will correspond with the potential of digital technology. The program will include work by Thomas Julier and Cédric Eisenring who have created a new soundtrack for ‘Font màgica de Montjuïc’, 2011 especially for its presentation at Art Basel Miami Beach. The ‘Brief Features’ program will present works by artists that hold the tension, visual captivation, imagination and quality of a full-length arthouse movie, and then offers a little bit more. It will include a special trailer of Christian Jankokwski’s ‘Casting Jesus’,

2011 for Art Basel Miami Beach and Ryan McGinley’s ‘Entrance Romance (it felt like a kiss)’, 2010.

Art Video Nights will start at 8pm each day with the second program of the evening commencing at 9pm. Admission to Art Video Nights is free and visitors are encouraged to bring blankets and deck-chairs.

Within the specially designed viewing pods in the Miami Beach Convention Centre, 22 films from the Art Video Nights will be presented in a continuous loop. Admission to Art Video is free with an entry ticket to the show.

Dara Friedman's Dancer - Miami premiere

List of Art Video artworks:

Cory Arcangel: Paganini Caprice No.5, 2011 | Team Gallery

Yael Bartana: Tuning, 2001 | Galleria Raffaella Cortese

Pierre Bismuth: Following Elvis Presley’s Hands in Jailhouse Rock, 2011 | Team Gallery

Slater Bradley: Boulevard of Broken Dreams, 2009 | Team Gallery, Blum & Poe

Jordi Colomer: What Will Come: The Hamptons, 2011 | Galería Juana de Aizpuru, Meessen De Clercq

Tim Davis: Dollar General Drive By, 2011 | Greenberg Van Doren Gallery

Brice Dellsperger: Body Double 27 (after ’A Year with 13 Moons’), 2010 | Team Gallery, Air de Paris

Tracey Emin: Sometimes the Dress is Worth More Money than the Money, 2000/2001 | Lehmann Maupin

Kota Ezawa: Beatles Über California, 2010 – Murray Guy

Dara Friedman: Dancer, 2011 – Gavin Brown’s enterprise

Theaster Gates: Breathing, 2010 – Kavi Gupta Gallery

Katy Grannan: The Believers, 2010/2011 – Salon 94

Amy Granat: Landscape Film, 2009 – Galerie Eva Presenhuber, Galerie Kamm

Laurent Grasso: 1619, 2007 – Sean Kelly Gallery

Cao Guimarães: Peiote, 2007 – Galeria Nara Roesler

Neil Hamon: Invasion, 2008 – Galeria Leme

Camille Henrot: La Songe de Poliphile, 2011 – kamel mennour

Alex Hubbard: Cinépolis, 2007 – Galerie Eva Presenhuber

Christian Jankowski: Casting Jesus Trailer, 2011 – Lisson Gallery

Thomas Julier and Cédric Eisenring: Font Màgica de Montjuïc (Art Video Miami Version), 2011 – Karma International

Cristina Lucas: La Liberté raisonnée, 2009; You Can Walk too, 2006 – Galería Juana de Aizpuru

Marilyn Minter: I’m not much, but I’m all I think about, 2011 – Salon 94

Ryan McGinley: Entrance Romance (it felt like a kiss), 2010; Friends Forever, 2010 – Team Gallery

Laurel Nakadate: 51/50, 2009; American Gothic, 2006 – Leslie Tonkonow Artworks + Projects

Rashaad Newsome: The Conductor, 2005/2010 – Marlborough Gallery

Lorraine O’Grady: Landscape (Western Hemisphere), 2011 – Alexander Gray Associates

Michele Oka Doner: A Walk on the Beach, 2011 – Marlborough Gallery

Jacco Olivier: Revolution, 2010 – Victoria Miro Gallery

Hans Op de Beeck: Sea of Tranquillity, 2010 – Galleria Continua

Martha Rosler: God Bless America, 2006 – Galleria Raffaella Cortese, Galerie Christian Nagel

Matt Saunders: Mirror Lamp, 2011 – Blum & Poe, Harris Lieberman

Lorna Simpson: Momentum, 2011 – Salon 94

Penny Siopis: Communion, 2011 – Stevenson

Jennifer Steinkamp: Orbit 11, 2011 – Lehmann Maupin

Tony Tasset: I am U R Me, 1998 – Kavi Gupta Gallery

Mungo Thomson: Untitled (TIME), 2010 – Gavlak Gallery

Clemens von Wedemeyer: Occupation, 2001/2002 – Galerie Jocelyn Wolff

See http://www.artprojx.com

The full Art Video program is online at  http://www.artbaselmiamibeach.com/go/id/eoe/

Press Release http://www.artbaselmiamibeach.com/go/id/cxl/

Pods at Art Basel Miami Beach

Important Dates for Media

Media Reception: November 30, 2011, 10am, Art Collectors Lounge Opening Day (by invitation only): November 30, 2011, 11am – 9pm Public Show Dates: December 1 – 4, 2011

For the latest updates on Art Basel Miami Beach, visit artbasel.com or find us on Facebook at facebook.com/artbaselmiamibeach.

Media information and press images can also be downloaded directly from artbasel.com/press.

Information on Art Basel Miami Beach is available from:

Dorothee Dines, PR / Media Manager, Art Basel & Art Basel Miami Beach Tel. +41 58 206 27 06, dorothee.dines@artbasel.com
Art Basel Miami Beach, CH-4005 Basel

US Office Art Basel Miami Beach:

FITZ & CO, Dan Tanzilli / Concetta Duncan
Tel. +1 212 627 1455 ext. 232, concetta@fitzandco.com 535 West 23 Street #SPH4Q, USA-New York, NY 10011

Florida Office Art Basel Miami Beach:

Garber & Goodman Inc.
Tel. +1 305 674 1292, Fax +1 305 673 1242, floridaoffice@artbasel.com 301 41st Street, US-Miami Beach, FL 33140

Galleries/Artists related links

Alexander Gray Associates http://www.alexandergray.com/news-events/2011-12-01_art-basel-miami-beach-2011

Blum & Poe http://www.blumandpoe.com/artfairs.html

Galerie Eva Presenhuber http://presenhuber.com/en/news/news/artfairs.html

Galleria Raffaella Cortese http://www.galleriaraffaellacortese.com/news/news.aspx

Gavin Brown’s enterprise http://gavinbrown.biz/home/exhibitions.html

Greenberg Van Doren Gallery http://www.gvdgallery.com/news/

Harris Lieberman http://www.harrislieberman.com/?page_id=145

kamel mennour http://www.kamelmennour.com/fairs.php

Karma International http://www.karmainternational.org/infoglueDeliverWorkinglive3/

Kavi Gupta Gallery http://kavigupta.com/exhibition/100/artbaselmiamibeach

Leme http://galerialeme.com/news.php?lang=por

Lehmann Maupin http://www.lehmannmaupin.com/#/exhibitions/2011-12-01_art-basel-miami-beach-2011/

Marlborough Gallery http://www.marlboroughgallery.com/exhibitions/art-basel-miami-beach-2011

Sean Kelly Gallery http://www.skny.com/news/2011-12-01_art-basel-miami-beach-2011/

Stevenson http://www.stevenson.info/news.html

Team Gallery http://teamgal.com/art_fairs/226/art_basel_miami_beach__art_galleries_2011

Slater Bradley http://www.slaterbradley.com/collections/art-video-art-basel-miami-beach-2011#!/image_8577

Victoria Miro http://www.victoria-miro.com/news/_69/

e-flux http://www.e-flux.com/shows/view/10422

Dara Friedman’s Dancer at SoundScape Park, New World Center, Miami – Nov 30

In Art Basel Miami Beach, Artprojx, Artprojx Cinema, Dancer, Dara Friedman, David Gryn, Film and Video, Video Art on 11/11/2011 at 5:04 pm

Dara Friedman 'Dancer' 2011

ART VIDEO Art Basel Miami Beach Nov 30 – Dec 4 2011

Selected by David Gryn, Director, Artprojx

Presents on

Wednesday  November 30 

9pm Dara Friedman, Dancer, 2011, 25′ (screened twice), Gavin Brown’s enterprise

Location: New World Center, SoundScape Park, 500 17th Street, Miami Beach

Dancer documents a series of dances that took place on the streets of Miami this past Spring. In the film, the performers have two dance partners: the camera and the city. The dancers, over 60 in all, represent a range of styles and ages – classical, street, ethnic and improvised. Movement was developed with choreography for and with the camera in hand. The work is in black and white, filmed with a hand-cranked Bolex in Super 16mm. The camera allows itself to be led the film frame delineating the parameters of the stage and the barrel lens sometimes catching the movement merely out of the corner of its eye. Performances are enmeshed with the soundtrack which paces the film throughout its 25 minute running time.

Dancer is the most recent film in an unofficial trilogy of new works by Friedman that focus on performance and public space. In 2007, the Public ArtFund commissioned Musical 2007-2008, which captured spontaneous actions orchestrated across Manhattan. Musical similarly plays upon the vitality of city life where unexpected encounters can be a daily occurrence.

In 2009, Schirn Kunsthalle Frankfurt commissioned Friedman to create a performance as part of the exhibition “Playing The City”. Frankfurt Song, 2010, asked the city’s array of street musicians to interpret the Rolling Stone’s 1969 hit song “You Can’t Always Get What You Want”. The performance and subsequent film takes a snapshot of the city and makes a point of highlighting the endless renaissance of its people, places and politics.

Dara Friedman 'Dancer' 2011

Art Video: Features film and video works by today’s most exciting international artists, presented by the galleries of Art Basel Miami Beach. Organized in association with London’s Artprojx, Art Video will be screened for the first time in the SoundScape Park, on the 7,000-square-foot outdoor projection wall of the New World Center, as well as within five viewing pods inside the Miami Beach Convention Center

Free public access. Limited seating is available; bring a blanket or beach chair. Food and beverages are available from Atelier Monnier

also on

Friday December 2 

2-2.30pm ART SALON

Art Video Talk | ‘Dancer’

Dara Friedman, Artist, Miami in converstation with David Gryn, Founder of Artprojx & Curator of Art Video.

Location: Miami Beach Convention Center, Zone D auditorium

Dara Friedman 'Dancer' 2011

Art Video http://www.artbaselmiamibeach.com/go/id/eoe/ 

Showguide http://www.artbaselmiamibeach.com/go/id/ijd/

Dara Friedman 'Dancer' 2011