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The Nijinsky Project – Faun by Jane Bustin

In Art Night, Art NIght London, Dancer, Film, Gryn, Isaac Gryn, Jane Bustin, John Snijders, London, Marriot, Nijinsky, Poppy Bowers, Uncategorized, Video on 16/10/2018 at 2:33 pm
The Nijinsky project – installation assemblage pieces:
1933 bio Nijinsky by Romona Nijinsky, cloth, acrylic, porcelain, wood, steel

Romola’s love

work by Jane Bustin

Relentless Hatred

work by Jane Bustin

Dark Moods

work by Jane Bustin

Hothouse plants

photo 1


The Nijinsky project – Faun


Premiered for Artnight London 2018 at London County Hall, Southbank London

Jane Bustin
Isaac Gryn 
John Snijders
Installation and performance – Vimeo 
Highlights – Vimeo
13 minutes.
Introduction by Poppy Bowers
In 1912, Ballet Russes premiered L’Après-midi d’un Faune at Théâtre du Châtelet in Paris. Eschewing lyrical movement in favour of geometric shapes, its avant-garde choreography and sexually explicit content divided audiences, prompting both outrage and awe. The performance, now regarded as the first modernist ballet, was choreographed and performed by Vaslav Nijinsky (1889-1950), senior dancer of Sergei Diaghilev’s Ballet Russes, and also his lover.
An iconic dancer, Nijinsky was experimental in his combination of great technical skill with deep, sensual expression. Over recent years, the artist Jane Bustin has made work in response to Nijinsky’s extraordinary formal experimentation. Like Nijinsky, Bustin is concerned with locating emotion within the restrained forms of geometric abstraction. Her pared-down paintings juxtapose panels of oil paint alongside tactile media such as porcelain, silk, copper or latex, to give sensory understanding to historical subject matter.
Faun is a new collaborative work that pays homage to Nijinsky’s tumultuous life. The work comprises of three parts; six table-mounted assemblages made by Bustin, a musical score by composer John Snijders and a balletic performance by the young dancer Isaac Gryn. The table works create a conceptual and spatial framework for the performative components, taking as its starting point a published book of Nijinsky’s life.
Following his ascendency as one who heralded the era of modern ballet, Nijinsky met misfortune. Having secretly married a young dancer, Romola, a furious Diaghilev subsequently expelled him from the Ballet Russes. Failing to recover from the artistic and financial loss of Diaghilev’s patronage, Nijinsky was forced to abandon dance. Suffering from psychosis he spent his remaining years residing in and out of asylums, until his death in Surrey, England. The account of his success and decline is recited in Nijinsky’s biography written by Romola and published in 1933, a single copy of which forms the centrepiece of each table assemblage.
Each book is accompanied by monochrome panels of various media including cloth, porcelain, paint and wood, the fragility of which point to emotionally-sensitive moments in Nijinsky’s life. From tallest to shortest, the tables take the following titles from a chance finding of a 1933 newspaper review that chart Nijinsky’s psychological trauma; Hothouse Plants, Relentless Hatred, Dark Moods, Misfortunes, “I am an Artist” and Romola’s Love. Typical of Bustin’s work, the proportions of the tables relate to the scale of the human body. Here, the table heights correspond to particular ballet movements measured from the young male dancer’s body, who is the artist’s son.
John Snijder’s musical score, titled Afternoon, was created specifically for this project. It reworks the piano piece of the original orchestral work for L’Après-midi d’un Faune composed by Claude Debussy (1862-1918), employing chance operations to unravel its structural order. Developed in dialogue between Bustin and Gryn, with support from Matthew Paluch and Dance Research Studio, a 13-minute dance, made in response to the music, is performed within the parameters of the tables. Combining symmetrical formations with lessening control, Gryn’s movements mirror the untangled composure of the accompanying piano, revealing an intimacy of inner tenderness and anxiety, rather than athletic display.
Contrasting sculptural materials with a temporal performative presence, Faun grapples with the troubled pursuit for artistic perfection and speaks of the psychological vulnerability that is bound up in such ambition.
Poppy Bowers, Exhibitions Curator at the Whitworth, The University of Manchester
John Snijders ‘Afternoon’ 2018
The composition “Afternoon” was created especially for the Nijinsky Project – Faun. I took, as base material, the piano reduction made by Leonard Borwick in 1914 of the orchestral work “Prélude à l’Après-midi d’un Faune”, composed by Claude Debussy (1862-1918) in 1894. For “Afternoon” I have divided the piece into twelve sections, and chose one or two representative bars from each section. These bars were paired so that the piece now contains six structural parts, which do not always follow the original’s chronology. The order of the bars, repeated over and over again, was determined using chance operations. Arriving at a final basic structure, more chance operations were used to determine, bar by bar, if, and if yes, how many notes would be altered, going either up or down in pitch, but not altering the rhythm of the bars. This results in the material remaining recognisable, but slowly deteriorating and getting out of focus until the start of the next section, where the process will start all over again. The six parts relate to the six tables with Jane’s artworks, and the musical process mirrors Nijinsky’s slow descent into developing a more and more distorted mind.
John Snijders, Artistic Director of the Ives Ensemble, Associate Professor in Music Performance at Durham University.
Jane Bustin, artist, lives and works in London and is represented by:
Copperfield London.
Fox Jensen Sydney & Fox Jensen McCrory Auckland

Loreta Lamargese text on Daata Editions

In Art, Art Basel, Art Fair, Chloe Wise, Daata, Digital, Frieze, Gryn, Hammer, NADA, Online, Rafman, Sound, Stoschek, Video, Zabludowicz on 19/10/2015 at 10:54 am
Chloe Wise, should I add an emoji, 2015 (courtesy the artist and Daata Editions)

Chloe Wise, should I add an emoji, 2015 (courtesy the artist and Daata Editions)

Loreta Lamargese on Daata Editions

Daata Editions offers a novel platform to solve a longstanding concern: how to commodify, collect, and distribute intangible and already-networked digital artwork. Probing this question reveals a nested paradox: while we’ve become increasingly reliant upon and enthralled by the digital, artworks that employ new media are thought of as being positioned outside the art market. It is becoming more and more difficult to disentangle ourselves from the digital web and artists – like all those included in the three artwork releases from Daata Editions Season One – are using its medial language to engage with their surroundings. At the same time, it is inane to think that we don’t rely heavily on the market – one that has thus far been thought to absorb only singular and static objects – and that the market isn’t a chief harbinger controlling which artworks and artists receive visibility and clout. And yet, many artists who reject a tradition of trading solely in tangible and discrete art objects, who use digitality as both a site that needs mining and as a material to be manipulated, are visible and powerful contenders in the current contemporary art arena.

What makes Daata Editions particularly significant at our present moment is that it fuses the seeming discord between the market and digital material, organizing artists’ video, sound, and web-based work and having that work available online as editions. In fact, Daata makes clear that these two apparently dissonant entities depend on similar structures, relying on a rapid and seamless transition of information; both are, after all, networked and global. The artists presented in Daata Editions are producing works that operate beyond the sanctified walls of galleries and are experimenting with the fungibility of concepts that fit diverse media and operate on these diverse platforms simultaneously. Similarly, while Daata is primarily stationed online, it does not limit itself to the borderless web, involving additional presentations at art fairs such as a recent collaboration with NADA New York.

Now with its third artwork release, it is safe to say the initial hypothesis that launched the platform is true: that when given an intuitive mode to consume and sell digital artwork – when given the opportunity to purchase new media on indigenous soil- collectors would take ownership. Editions by artists such as Amalia Ulman, Chloe Wise, Ed Fornieles, Jon Rafman, and Leo Gabin made available through Daata Editions are now housed in preeminent international collections including the Hammer Museum, Los Angeles, The Zabludowicz Collection, London, and The Julia Stoschek Collection in Dusseldorf. And while private collectors and institutions alike fold moving images and sound works into their collections, artists continue to expand the limits of contemporary art practices, renegotiating our reliance on any particular medium or site.

While I’m hesitant to stress the intrinsically utopic qualities of digital art, its malleability with place and material affords it distance from hermeneutic singularity or ontological fixity. The dynamic chain of reformatting that these digital works undergo lends them to active and multifarious meanings and concepts. For example, Chloe Wise’s series created for Daata Editions, Do You Really Think He Fingered Her?, sees the artist subverting the notion of determined and legible identification. In this collection of videos, we find a friend and collaborator of the artist, Robyn Fox, reciting overheard phrases and the Twitter feeds of Art Basel Miami Beach attendees and friends of the artist. Because Fox is costumed in Wise’s clothes and because Wise often uses her own image in her artwork, we are compelled to read Fox as Wise, collapsing barriers of individualization normally fixed to bodies. And why shouldn’t we? If the video itself, as well as the material from social media that Fox recites, proliferates on multiple channels and in different formats at overlapping intervals, then why should identities and meaning be fixed and contained rather than performed and adaptable?

Since its emergence, artists working with video have struggled to monetize their practice while making hefty contributions to the history of art, changing our modes of perceiving and altering our relationship to objects and images. The current generation of young artists working in new media, including those presented in Daata Editions, is widening the net of possibilities under which image creation and circulation can exist. They are entering the conversation at a vital moment, one in which new economic platforms attempt to keep up with them, finding original means to sell and distribute migrant and non-discrete objects. Daata Editions is an early contributor to this new economy, which not only considers but also focuses and exists within the digital realm. Now entering its third artwork release, Daata Editions has tested these murky waters, shedding light on the possibilities of nurturing and distributing artwork that gains dynamism through circulation – through the very media it takes from.

Loreta Lamargese is a curator and researcher based in Montreal, Canada and works at Galerie Division

Galerie Division http://www.galeriedivision.com/montreal/

Daata Editions http://daata-editions.com

Radio Ga Ga at Film Art Basel in Miami Beach Fri 5 Dec 8pm

In ABMB, Art Basel, Art Video, Artprojx, Film, Gryn, Miami, nwc, radio, Screenings, SoundScape Park on 23/11/2014 at 1:48 pm

Wagner Malta Tavares, Ondas Curtas, 2013, 8’52”, Galeria Marilia Razuk

Film: Art Basel in Miami Beach 2014. Curated by David Gryn.

From December 3 through 6, 2014, Art Basel’s Film sector will include over 80 films and videos. Outdoor Screenings are in SoundScape Park on the 7,000-square-foot outdoor projection wall of the Frank Gehry designed New World Centre.

Friday, December 5, 8pm-9pm,  

Radio Ga Ga

Radio broadcasting – the audible transmission of information through radio waves – is a powerful medium that has long influenced human events. Concepts of radio and waves will be explored in this program, bookended by works that draw from broadcasts that go unnoticed, such as Bill Balaskas’ cobbled together news bulletins and Susan Hiller’s translations of radio frequencies emitted by the Big Bang.

Bill Balaskas, Info, 2011, 4’30”, Kalfayan Galleries
Frank Heath, Invasive Species, 2012, 11’30”, Simone Subal Gallery
Wagner Malta Tavares, Ondas Curtas, 2013, 8’52”, Galeria Marilia Razuk
Vartan Avakian, ShortWave / LongWave, 2009, 7’13”, Kalfayan Galleries
Susan Hiller, Resounding (Infrared), 2014, 30′, Timothy Taylor Gallery


6pm-8pm Jennie C. Jones, From the Low to Higher Resonance, Sikkema Jenkins Gallery– three short works in surround sound.

Some related links:










Artprojx on Instagram

In Art, Art Basel, Art Basel Miami Beach, Artprojx, Artprojx Cinema, Artsy, David Gryn, Film, Gryn, SoundScape Park on 20/07/2014 at 10:14 am



Artprojx on Instagram


David Gryn on Instagram 


Artprojx and David Gryn Instagrams for updates, events, projects, images, likes, links, archives, dog, family, friends, thoughts, fun, stupidity, loyalty, therapy, #etc




David Gryn notes for LOOP Barcelona on his engagement with the Artists Moving Image World

In Art, Art Basel Miami Beach, Art Fair, Artprojx, Artprojx Cinema, Barcelona, Central Saint Martins, Cinema, David Gryn, Film, Gryn, Jane Bustin, London, LOOP, Miami, Miami Beach, Video Art on 12/06/2014 at 10:21 am





David Gryn, Founding Director of Artprojx.

Over the last 15 years I have presented major artists projects and screenings of artists’ moving image including during major international art fair periods such as during Frieze, Armory NY, Independent NY, Art Basel in Miami Beach and at LOOP and also working with leading art galleries, artists and institutes around the world, and always thinking about their prospective and potential audience. The logic being that of creating generally cinematic based screening events focusing the attention on the art work and delivering an audience for the projects often at a time when there are always plethoras of other audience demanding events going on. However in our current art climate – the art fair is dominating the art experience landscape and thus the audience, but screenings of artists films are probably one of the only times an audience is truly watching a work or works of art during an art fair period, whilst the main activity in the art fair is mainly focused on the sale of the art work. We have to put the moving image, performance and sound at the heart of the art fair experience to create a perception and a reality of its powerful place in our contemporary art world.

There are ever-more artists making moving image as their focus, part of their practice or even as purely documentation and technologies are making the quality ever-better, far easier and cheaper, the galleries, institutes and art fairs are showing ever-less. The artist moving image, the installation, the live event are a kind of ‘last bastion’ of pure art, where it remains ‘art’, fairly untainted by commercial attributes and demands, it is not easy to sell, own, view or digest easily.

My view is of an egalitarian, enabling, engaging and empowering environment for all parties involved to feel they have a role; artists, galleries, general public, art fairs, collectors, students. This is achieved by venerating and putting the artists and artwork at the centre of the live, public, commercial and digital art experience. Utilizing all platforms for the showing of artists’ work and creating social events and experiences in our digitally focused, time-limited and commercially dominated age. I believe we have to create audiences focused programming that operates with philanthropic and passionate attributes to the showing of moving image art works.

I hear film and often know instinctively whether it is great, good or not. Films like all art works have charismatic characteristics and it is often clear of the author’s voice, ego, charisma coming through based on techniques, sound, tone, visual impact, fonts, titles, which all combine and their chemistry results in the art work and its impact. A great work of art may linger in my head and heart for weeks and sometimes years after viewing it. I am most often lead by the sound of a film and that is what captivates me and can remain trapped in my mind far beyond the actual memory of the moments of watching the film. Film is primarily a visual language, however my memory is activated by the music, sound and the audio sense of what I see. I often distractedly look at films on my computer, but with the detritus of daily life, I look away to do other things and yet a good film will be heard throughout my distractions, as it may have a pace, a melancholy, a tension that keeps my listening focused, in much the same way as a great piece of music may leap out or emerge on the radio from the generally mundane or bland selections.

The world we inhabit is avowedly a human one and the work we do is best served and benefited from when done so with a modicum of love and passion, it is the unaccountable and immeasurable ingredient that we all know is there and vital in so many other walks of life. The art world at its most crassest end is just about business, albeit sometimes done with genuine appreciation and value of it being art, but rarely more than about the shifting of commodities. At the coal-face of the art world – it is not a business, it is a process more akin to love and passion and not commercially quantifiable and the best artists, gallerists, art fairs, collectors all show these traits to some degree. When I do a project showing artists film, I aim to think about the space, the place and the context of the screening and how we can make connections, how does it all relate and interact and how can all parties involved benefit. I am fascinated by the relationship between the makers, the audience, the venue and locality and the spaces in-between, how audience reacts and how we can work together for projects. In brief, my work is joining together all the dots.

My work is often connecting to and collaborating with a screening project, either via the artist or their gallery and to enable an audience to understand directly what they are coming to and that the environment is suited to them sitting for lengthy periods, basically managing expectations where possible and sometimes surprising people too. In brief I see my role as an orchestrator of encouragement for all parties on any given project. This is made simple in the context of the cinema, as they are designed for viewing film, and our now cultural awareness and expectations in these places are durational, to be focused, observational, as well as suspending our reality and allowing fantasy to reign. However, there are always exceptions to rules – and some works are simply made to have fleeting glances at them and thus the looped film rears its complicated head.

I had hoped by now in this decade that the ‘cinema’ would be host to regular artists screenings and that there would have been a box office revolution and we would now be in a nirvana of artists earning money via ticketing or even downloads (akin to music concerts/Hollywood film screenings and online music purchase) and not dependent on ownership, sales and complex public funding. In reality, there is not yet wide and unlimited interest in artists moving image, as it remains a medium that is not mass commercial entertainment, and that is also a really huge relief. Whilst we want the largest number of people to see works we show or make, art as magical rarity, unique and the unfathomable is where much of its value lays. We are living in a wonderful changing world, with our digital revolution in full swing.

Our expectations are ever changing and evolving, our viewing habits are shifting and accommodating new technologies. A recent comment by a leading USA museum director to me was that in the age of Netflix, how can we compete and show film in the museum and still attract an audience? My view is that we have to be more vigilant, inventive and create the right environments for showing this area of artist practice and output.

The future is always going to be changeable – but the fact is that we must engage better with the online experience for viewing of and interacting with art, but that instead of being a mirror to an art world, it has to learn how to make its own world and be seen as true art as any other platform art is shown on or made for.


Art Basel Miami Beach 2012 – Art Video Nights

In Art, Art Basel Miami Beach, Artprojx, Artprojx Cinema, Cinema, David Gryn, David Zink Yi, Film and Video, Gryn, Jesper Just, Miami, MOCAtv, Nicholas Abrahams, Ragnar Kjartansson, Sam Samore, Theaster Gates, Video, Video Art on 26/11/2012 at 9:41 am

Art Video Nights

Running from December 5 to 8, Art Video Nights will showcase 60 film and video works on the 7,000-square-foot outdoor projection wall of the Frank Gehry-designed New World Center in SoundScape Park. Presented by participating galleries of Art Basel Miami Beach, the program features works by artists including Julieta Aranda, Daniel Arsham, Guy Ben-Ner, Theaster Gates, Jesper Just, Mauricio Lupini, Ryan McGinley, Rashaad Newsome, Robin Rhode, Sam Samore, Adam Shecter, and Hu Xiangqian. Art Video Nights will also feature a special dusk-to-dawn screening of the 12-hour long film Bliss by Ragnar Kjartansson, presented by Art Basel in collaboration with the Museum of Contemporary Art (MOCA) North Miami and the New World Center on Saturday, December 8 at 6pm. Art Video is organized in association with David Gryn, Director of London’s Artprojx.



See the full e-flux announcement



Hugo Gryn – Three Minutes of Hope

In Al Matthews, Book, Continuum, David Gryn, Erich Segal, Gryn, Hugo Gryn, Isaac Gryn, Julia Neuberger, Lionel Blue, Martin Gilbert, Maureen Lipman, Michael Buerk, Moral Maze, Naomi Gryn, Oliver McTernan, On the God Slot, Rabbi, Roger Royle, Three Minutes of Hope, Tom Stoppard on 16/11/2010 at 2:21 pm

Hugo Gryn photos by Sharon Chazan


Hugo Gryn‘s death triggered a huge outpouring of grief, not just from the congregation at the West London Synagogue where he was rabbi for 32 years, but for the much wider audience who had come to know him as a regular panelist on The Moral Maze and through the nuggets of wisdom he used to broadcast on various ‘God slots’ for the BBC and Capital Radio.
With just a couple of minutes to inject a dose of spirituality into the daily lives of believers and non-believers alike, Hugo’s gentle humour, his warmth and compassion, his deep spirituality and his unquenchable faith in humanity made a lasting impression on listeners and he is remembered with affection by millions. This collection of his best radio scripts, arranged by theme (ranging from the Holocaust to Mahatma Gandhi) and given a personal and historical context by Hugo Gryn’s daughter, Naomi, will delight his existing admirers and bring his wit and wisdom to a new generation. It provides a fitting memorial in what would have been his 80th birthday year.
Rabbi Hugo Gryn was born in the Carpathian town of Berehovo in 1930 and deported to Auschwitz at the age of thirteen. He was rabbi at the West London Synagogue for thirty-two years, but was perhaps best known for his ‘ministry of the airwaves’, particularly as a regular panellist on the BBC’s Moral Maze.
NAOMI GRYN is a writer and documentary filmmaker. She co-authored and edited her father’s posthumous memoir, Chasing Shadows (Viking, 2000).
Three Minutes of Hope - Hugo Gryn on the God Slot - Edited by Naomi Gryn

Three Minutes of Hope - Hugo Gryn on the God Slot - Edited by Naomi Gryn

Continuum International Publishing Group
The Tower Building
11 York Road
London SE1 7NX


InArt. InStars. InStyle at Solyanka State Gallery, Moscow 24 June – 11 Sept

In Art, Artprojx, David Gryn, Film, Film and Video, Fyodor Pavlov-Andreevich, Gryn, Hussein Chalayan, Instyle, Jeremy Deller, Jessica Voorsanger, Laurie Simmons, Max Wigram, Meryl Streep, Michael Gondry, Moscow, Nicholas Abrahams, Oriana Fox, Pinky Ghundale, riflemaker, Sam Taylor-Wood, Sarah Baker, Screenings, Slater Bradley, Solyanka State Gallery, Stuart Pearson Wright, Video Art, White Cube on 23/06/2010 at 7:28 am

curated by David Gryn and Pinky Ghundale

InArt. InStars. InStyle
June 24 – Sep 11
Featuring: Nicholas Abrahams, Sarah Baker, Slater Bradley, Hussein Chalayan, Jeremy Deller, Oriana Fox, Michael Gondry
Jeremy Deller, Stuart Pearson Wright, Laurie Simmons, Sam Taylor-Wood, Jessica Voorsanger.
Curated by David Gryn, Pinky Ghundale and Katya Bochavar
Solyanka State Gallery
Solyanka street, 1/2 bld. 2 (access from ulitsa Zabelina)
Gallery hours
Tue-Thur, Sat-Sun 12-8pm, last admission 7.30pm
Fri 12pm-12am, last admission 11.30pm
Late director’s/ curator’s tour of the current exhibition – every Friday 11pm as of July 2
Admission 120 rub
XXII Moscow International Film Festival
This is a pre-inaugural show for the new state museum space SOLYANKA VPA (Video. Performance. Animation) planning to open this coming autumn

Slater Bradley - Intermission

Love Your Celebrity as You Love Yourself
Unless he is painter Nikas Safronov or sculptor Marc Quinn, the real artist is obliged to hate celebrities.
The show InArt. InStars. InStyle explores the electricity between artists and celebrities – for example, between Sam Taylor-Wood and her fellow celebrities the Klitschko brothers. Or between fashion-world wizard Hussein Chalayan and Tilda Swinton, who in the video The Absent Presence literally performs magic by steaming DNA sequences from the clothing of ordinary, non-British Londoners (contemporary art without politics is not contemporary art). Or between the stunning Meryl Streep and Laurie Simmons, who is not only an artist, but wrote all the lyrics to the songs in the gorgeous musical The Music of Regret. Or between one of Britain’s most uncompromising contemporary artists,Turner Prize winner Jeremy Deller, and the shadow of Depeche Mode, whom Jeremy and his collaborator Nicholas Abrahams followed round the world for their documentary The Posters Came from the Walls without once showing them onscreen.

Oriana Fox - Workout

Shadows and doppelgängers are the focus of this show. Swinton performing her witchery, Michael Jackson melting in the snow (Slater Bradley’s Intermission), Keira Knightley lost amidst a neatly trimmed green labyrinth: the artists want the stars to drown, to stew in the juices of their own myths. What matters to the artists is not only taking a swipe at the celebs, but also mentally (or even literally, as in the cases of Oriana Fox, Jessica Voorsanger, Sarah Baker, and, in a slightly different vein, Stuart Pearson Wright) substituting themselves for the stars and then viewing the results from the sidelines. Video is the most fitting genre for this sort of viewing – a funhouse mirror, as it were. But that’s okay: we get the picture.
In the same way, slowly but surely, Solyanka State Gallery is transforming itself from a universal gallery space into a museum project wholly devoted to screen culture. This autumn we will explain to you what Solyanka VPA (Video. Performance. Animation) is all about, but for now just gaze into the eyes of the artists and their stars and don’t worry about mixing them up. However much this might anger the artists, this show essentially places a big, fat equals sign between artists and celebrities.
text by Fyodor Pavlov-Andreevich Director, Solyanka State Gallery

Hussein Chalayan's Absent Presence with Tilda Swinton

Nicholas Abrahams
Sarah Baker
Slater Bradley
Hussein Chalayan
Jeremy Deller
Oriana Fox
Michael Gondry
Jeremy Deller
Stuart Pearson Wright
Laurie Simmons
Sam Taylor-Wood
Jessica Voorsanger
Curated by David Gryn, Pinky Ghundale, Katya Bochavar

Jeremy Deller & Nicholas Abraham's The Posters Came From The Walls

24 июня – 11 сентября
Сэм Тейлор Вуд, Джереми Деллер, Мишель Гондри, Хусейн Чалаян и ещё 10 важнейших видеохудожников мира
Кира Найтли, братья Кличко, Мерил Стрип, Бьорк, Тильда Суинтон, и ещё 15 главных мировых звёзд
в рамках выставки
InArt. InStars. InStyle.
в пространстве
Государственной галереи на Солянке (ул. Солянка, д. 1/2, стр. 2, вход с улицы Забелина)
Часы работы галереи:
Вт-чт, сб-вс, 12:00 – 20:00, касса работает до 19:30
Пт, 12:00 – 00:00, касса работает до 23:30
Ночная экскурсия по выставке с директором/ куратором галереи каждую пятницу с 23:00 со 2 июля
Вход 120 р.
под эгидой
XXII Московского Международного Кинофестиваля
Эта выставка предвосхитит открытие нового государственного музейного проекта СОЛЯНКА ВПА (Видео. Перформанс. Анимация)
Кураторы: Дэвид Грин, Катя Бочавар.
Настоящий художник обязан ненавидеть знаменитостей, если только он не живописец Никас Сафронов и не скульптор Марк Куинн.

Chalayan installation shot, Moscow

Выставка InArt. InStars. InStyle показывает связь и электричество между словом artist и словом celebrity – вот, к примеру, между Сэм Тейлор-Вуд и ее братьями по селебрити-цеху Кличко. Между удивительным колдуном фэшн-сцены Хуссейном Чалаяном и его тоже в своем роде сестрой Тильдой Суинтон (в видео «Отсутствие присутствия»/The Absent Presenсe она и правда колдует, выпаривая ген ДНК из одежды обычных лондонцев необычных национальностей – совр. искусство без политики – никакое не совр. искусство). Между умопомрачительной Мэрил Стрип и не только художницей, но и автором всех текстов песен этого прекрасного мюзикла («Музыка отчаяния», Music Of Regret) Лори Симмонс. Между, очевидно, одним из самых непримиримых современных художников Британии, лауреатом Тернеровской премии Джереми Деллером – и тенью группы Depeche Mode, которую Джереми вместе со своим соавтором, Николасом Абрамсом, преследовал по всему миру – но так ни разу и не помещает в кадр.

3 minute round by Sam Taylor Wood

Тени и доппельгангеры (призрачные двойники) – вообще, наверное, главная тема этой выставки. Колдующая Суинтон, тающий в снегах Майкл Джексон («Большая перемена»/Intermission Слейтера Брэдли), теряющаяся в аккуратно постриженном зеленом лабиринте Кира Найтли – художники хотят, чтобы звезды утонули, растворились в вареве собственного мифа. Им важно не только поглумиться над селебом – но и, на всякий случай, мысленно (или вполне буквально, как Ориана Фокс, Джессика Фозенгер, Сара Бейкер или – в несколько ином ключе, но все же – Стюарт Пирсон-Райт) подставить на место звезды самое себя. И посмотреть на это со стороны, благо видео – самый удачный для такого смотрения жанр: такое себе кривое зеркало – но ничего, суть различима.

Jessica Voorsanger in Stage Struck

Так, медленно, но верно, Государственная галерея на Солянке из выставочной площадки универсального применения обращается в музейный проект, полностью посвященный экранной культуре. Этой осенью мы объясним вам, что такое СОЛЯНКА ВПА (Видео. Перформанс. Анимация), – а пока что смотрите в глаза художникам и их звездам и, не беспокоясь, путайте их между собой – в сущности, как бы художники ни сердились, этот выставочный проект ставит жирный знак равенства между двумя словами – artist и celebrity.

Sarah Baker - Studs

Федор Павлов-Андреевич,
Государственная галерея на Солянке
Николас Абрамс
Сара Бейкер
Слейтер Брэдли
Мишель Гондри
Джереми Деллер
Стюарт Пирсон-Райт
Лори Симмонс
Сэм Тейлор-Вуд
Джессика Фозенгер
Ориана Фокс
Хусейн Чалаян


David Gryn www.artprojx.com


MARK:FF http://markaff.ru/


Laurie Simmons - Music of Regret

Calligrams opens Weds 23 June at The Eagle Gallery featuring Jane Bustin

In abstract, Art, Artprojx, David Gryn, Eagle Gallery, Eagle Pub, Emma Hill, Estelle Thompson, Farringdon, Gryn, Jane Bustin, Jane Gryn, Kevin Finklea, London, Matt Magee, Minimal Art, minimalism, painting on 08/06/2010 at 8:08 am

Beloved by Jane Bustin

Jane Bustin features in the forthcoming show


Join us for drinks at the Private View 6.30pm-8.30pm on June 23rd

Exhibition runs 24 June – 24 July

The Eagle Gallery

159 Farringdon Road

London EC1R 3AL

open Weds-Fri 11am-6pm and Sat 11am -4pm

0207 833 2674



les derniers fleurs by Jane Bustin

CALLIGRAMS 24 June – 24 July 2010
Jane Bustin, Kevin Finklea, Matt Magee, Estelle Thompson

Calligrams features four artists whose work explores contemporary paths of minimalist abstraction. The exhibition brings together UK-based painters Jane Bustin and Estelle Thompson with American artists Matt Magee and Kevin Finklea.

Calligrams poses questions about the challenge involved in reinventing non-representational genres. The artists work within traditional parameters of colour, form and support, yet each in individual ways extends them.

Echoes of Suprematism and Colour Field abstraction are evident in the work of Kevin Finklea and Estelle Thompson, in the use of geometric forms and the manipulation of ranges of complex, high-keyed colours.

Finklea’s recent paintings arise from memories of place and time and have moved off the two-dimensional picture plane into three-dimensional reliefs. The range and vocabulary of Finklea’s colour, whether the exclamatory blush of two contrasting pinks or the meditative quality of a light blue are focused and projected into space through these sculptural forms
The intense colours and re-worked surfaces of Estelle Thompson’s oils on panel bring to mind a range of associations from past traditions in painting, from the shimmering light of Renaissance frescos to the distressed surface of Jasper Johns ‘Flag’. Thompson’s nuanced surfaces act in counterpoint to her plays with geometric form, in which a simple division of a rectangle can offer myriad visual possibilities.

Matt Magee’s more emblematic paintings employ simple pictograms such as punctuation marks or numbers, as a way of incorporating language into the work under his own abstract terms. Formally satisfying simply as shapes, these signs are also weighted with exclamatory meaning and are held within surfaces of painterly marks.

Jane Bustin’s investigations into the potential for the abstract image to allude to emotional states or metaphorical ideas are closest perhaps to traditions of the sublime in abstraction. Exploring sources in literature, her recent series of works are made in response to Mallarmé’s volume of poems ‘’Pour Anatole un tombeau’. Employing a range of materials and supports the work has moved into the territory of installation where related paintings and text are sited in three-dimensional arrangements.

Jane Bustin is represented by the Eagle Gallery. Her most recent solo exhibition Unseen – A collaboration, took place at the British Library, London.

Kevin Finklea’s recent solo exhibition Memories are Uncertain Friends was held at Margaret Thatcher Projects, New York.

Matt Magee’s forthcoming solo show takes place at the Knoedler Gallery, New York.

Estelle Thompson is represented by the Purdy Hicks Gallery, where she had a solo show In 2009.

Four Rectangles (for KM) by Estelle Thompson

Geary Street by Kevin Finklea

Division by Matt Magee



In Adam James, Art, Artprojx, Aura Satz, boyleANDshaw, Brian Catling, David Blandy, David Gothard, David Gryn, Film, Gryn, ICA, Infinite Livez, JocJonJosch, Keeley Forsyth, Linda Hirst, Malachy Orozco, Malin Ståhl, Mark Leckey, Max Reinhardt., Neo Empire, Ninja Tune, Patrick Coyle, Performance, Plastique Fantastique, Sam Belinfante, Screenings, Shoja Azari, Street Fighter, Tai Shani, Terry Smith, Tony Grisoni, Video Art, Wimbledon on 27/05/2010 at 4:29 pm

Image from the screening of Shola Azari's Windows

  2. David Blandy – YouTube
  3. Tai Shani – YouTube
  4. boyleANDshaw – YouTube
  5. Terry Smith – YouTube
  6. Aura Satz  – YouTube
  7. Brian Catling – YouTube