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Archive for the ‘Kota Ezawa’ 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

the poetics of mountains, their mutations and multifarious things – Verbier 27-28 July

In Art, Artprojx, David Gryn, Kiki Thompson, Kota Ezawa, Paul D. Miller aka DJ Spooky, Paul Gladstone Reid, Paul Goodwin, Verbier, Video on 22/07/2013 at 10:36 am

Kota Ezawa. Still from City of Nature

Artprojx presents

the poetics of mountains, their mutations and multifarious things

Selected by David Gryn

Screening in Verbier, Switzerland 27-28 July 2013. Verbier 3-D as part of its ‘Mutations’ programme.

Artists: Darren Almond, Sanford Biggers, Janet Biggs, Ulu Braun, Louise Camrass, Eli Cortinas, Shezad Dawood, Kota Ezawa, Clare Langan, Melanie Manchot, Paul D. Miller aka DJ Spooky, Takeshi Murata and Billy Grant, Mariele Neudecker, Johanna Reich, Jaan Toomik, Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid.

The poetics of mountains, their mutations and multifarious things is a reflection on the place of this screening and how an audience engages with it’s own reflection. A programme of mountain, snow, ice, the outsider and mutation inspired and related films.

Artists and works:

Darren Almond – Arctic pull  (courtesy the artist and Jay Jopling, White Cube, London)

Sanford Biggers – Shuffle (courtesy the artist and Michael Klein Arts, New York)

Janet Biggs – In the Cold Edge (courtesy of the artist, CONNERSMITH, Washington D.C. and Winkleman Gallery, New York)

Ulu Braun – VERTIKALE (courtesy the artist and YoungProjects, Los Angeles)

Louise Camrass – On becoming a mother (courtesy the artist)

Eli Cortiñas – Fin (courtesy the artist and Rokeby Gallery, London)

Shezad Dawood – A Mystery Play (courtesy of the artist and Paradise Row, London)

Kota Ezawa – City of Nature  (courtesy the artist, Galerie Anita Beckers, Germany and blinkvideo)

Clare Langan – The Floating World (courtesy the artist, Galerie Anita Beckers, Germany and blinkvideo)

Melanie Manchot – Leap after The Great Ecstasy / Perfect Mountain (courtesy the artist and Galerie m Bochum)

Paul D. Miller aka DJ Spooky  – Of water and ice (courtesy the artist)

Takeshi Murata and Billy Grant – Nightmoves (courtesy the artist and Salon 94)

Mariele Neudecker – Winterreise (A Winter’s Journey) – song 24 (courtesy the artist)

Johanna Reich – Black Hole (courtesy the artist, Galerie Anita Beckers and blinkvideo)

Jaan Toomik – Father and Son (courtesy the artist and Temnikova & Kasela Gallery, Estonia)

Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid – Luminescence: Origins’ Part 1 (courtesy the artists)

27/28 July – screening on the big outdoor screen at Place Médran 5:30 to 6:15pm.

28 July – screening at the Médran conference room (follow Festival signs), free entry 2 to 3:30pm.

27 July. Panel Discussion, ‘Mutations’: Moderator: Paul Goodwin (UK), Verbier 3-D curator • Sanford Biggers (US) (installation, video, sculptor) • Paul D. Miller aka DJ Spooky (US) (artist in residence at Metropolitan Museum of Art) • David Gryn (UK) (film curator, Art Basel in Miami Beach and other Artprojx projects worldwide) • Kiki Thompson (CH) (sculptor and co-founder Verbier 3-D) at 3:30pm at Caisses Médran by the lift station, free entry.

27 July. Mutations: Live music and multimedia collaboration. Paul D. Miler aka DJ Spooky That Subliminal Kid with Crista Kende, violist with artists’ film selected by David Gryn at Pub Mont Fort 10pm to closing, free entry. Located behind Médran just off of the Rue de Ransou.

Many thanks to Andy Moss at Spike Island for compiling the films into one format.

the poetics of mountains – artist information

In Clare Langan, Darren Almond, David Gryn, DJ Spooky, Eli Cortinas, Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid, Film, Jaan Toomik, Janet Biggs, Johanna Reich, Kiki Thompson, Kota Ezawa, Louise Camrass, Mariele Neudecker, Melanie Manchot, Paul Gladstone Reid, Paul Goodwin, Sanford Biggers, Shezad Dawood, Takeshi Murata and Billy Grant, Ulu Braun, Verbier on 16/07/2013 at 5:23 pm

Artprojx presents

the poetics of mountains, their mutations and multifarious things

Selected by David Gryn

A Screening in Verbier, Switzerland 27 July 2013

Verbier 3-D, as part of its ‘Mutations’ programme

Darren Almond, Sanford Biggers, Janet Biggs, Ulu Braun, Louise Camrass, Eli Cortinas, Shezad Dawood, Kota Ezawa, Clare Langan, Melanie Manchot, Paul D. Miler aka DJ Spooky, Takeshi Murata and Billy Grant, Mariele Neudecker, Johanna Reich, Jaan Toomik, Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid.

Artists and Work Information

arctic pull

‘Arctic Pull’ (2003), shows the artist pulling a sled on which the camera is bound, across the arctic during the dead of night.

Darren Almond was born in 1971 in Wigan, UK. He lives and works in London. His solo exhibitions include Frac Haute-Normandie, Rouen and FRAC Auvergne, Clermont Ferrand (2011), Parasol Unit (2008), SITE Santa Fe (2007), Museum Folkwang, Essen (2006), K21, Düsseldorf (2005), Kunsthalle Zürich (2001), Tate Britain (2001), De Appel (2001) and The Renaissance Society, Chicago (1999). He has also participated in numerous important group exhibitions including Helmhaus, Zurich, 6th Biennale da Curitiba and Miami Art Museum (2011), MAC/VAL, Vitry-sûr-Seine, (2010), the Tate Triennial, Tate Britain and Frac Lorraine, Metz (2009), Moscow Biennale (2007), The Turner Prize, Tate Britain (2005), The Busan Biennale (2004), Venice Biennale (2003), Berlin Biennale (2001), ‘Sensation’ (1997-1999). Almond is represented by White Cube Gallery.

2009 Video. Two channel HD color video installation with sound component, 4:47 min., Courtesy the Artist and Michael Klein Arts, New York, NY

A 2-channel video about the struggle between our own perception of self vs. others’ projections onto us. Shuffle also examines how we matriculate through society, often masking our insecurities, pain, longing and the internal schizophrenia of our id. Original soundtrack composed from the artist’s field recordings made in Indonesia.

Sanford Biggers (born 1970) is an interdisciplinary artist who works in film/video, installation, sculpture, music, and performance. An L.A. native, he has lived and worked in New York City since 1999. He received a BA from Morehouse College in Atlanta, Georgia, a MFA from the School of the Art Institute of Chicago, IL and attended Skowhegan School of Painting and Sculpture in 1998.

In the Cold Edge examines an individual’s search for meaning at the end of the earth.  Opening with a lone figure descending into an ice cave, we follow his path as he explores the crevasses and below-ground chambers formed by an ever moving glacier.  Crawling through claustrophobic ice tunnels and lit solely by the headlamps of the climber and artist, the viewer discovers shimmering ice stalactites and immense, gravity-defying frozen formations.  Ascending above ground with the climber, the viewer is thrust into the vastness of Arctic space.  Isolated and vulnerable, the characters in Biggs’ video struggle to define and defend their sense of self in an extreme environment.  Challenged by the elements and the unknown, Biggs’ subjects (one of which is herself) find a kind of sublimity in which social time is destabilized by the power of nature, resulting in both awe and terror.  The piece ends with Biggs herself shooting off a flare into an archetypal image of the frozen north.  This act is both an aggressive assertion of power and a cry for help in a landscape where assumptions about self and reality are radically altered.

Janet Biggs is known primarily for her work in video, photography and performance.   Her work has been exhibited internationally at museums, film festivals, and art galleries including the Musee d’art contemporain de Montréal; Hirshhorn Museum and Sculpture Garden; Tampa Museum of Art; Skulpturenmuseum Glaskasten Marl; Herbert F. Johnson Museum of Art; Mint Museum of Art; Everson Museum of Art;  Gibbes Museum of Art; Rhode Island School of Design Museum; Vantaa Art Museum, Finland; Linkopings Konsthall, Passagen, Sweden; the Oberosterreichisches Landesmuseum, Austria; and the Perth Institute of Contemporary Arts, Australia, among others.  Reviews of her work have appeared in the New York Times, the New Yorker, ArtForum, ARTNews, Art in America, Flash Art, Artnet.com, and many others.  Janet Biggs is represented by CONNERSMITH., Washington, DC, and Winkleman Gallery, New York City.

VERTIKALE is created out of hundreds of crane shots from films and documentaries that were mounted and animated like a filmstrip. The video mediates a journey from the deep sea until the peaks of human civilisation and by that plays with our linear viewing patterns and causes a physical cinema experience. Life and its ambition of survival is reflected along a geographical and media referential, rising line.

Ulu Braun, working in Berlin, produces an especially effulgent kind of hyper-video, designed for installational – indeed, room-size – projection and based on a voracious comprehension of filmic culture, classic and contemporary. Marco Brambilla exhibits a similar sensibility, but Brambilla is a clear and dogged formalist, avoiding narrative in favor of citation; by contrast, it is the very sense of pictorial drama unfolding over time with which Braun plays time and again, inserting his manifold quotations into far larger, unfolding, often picaresque schemata (albeit ones that can ultimately loop around on themselves). Braun’s projections are mesmerizing first because of their stunning vividness (as well, of course, as their walk-in scale); but they keep us riveted less through incantatory repetition than through the promise of surprise, of absurd spatial juxtapositions and lunatic sequencing. Braun thinks big, even panoramically, and exploits the expansive potential of the latest video technologies to their utmost; but his is not a stentorian voice, but an orchestral one, coordinating a vast array of detail into a coherent whole.

A film shot on a train from London to Switzerland. Lake Geneva, the mist, trees and snow pass by, while a woman travels with her one year old and reflects on her own wondrous journey from singledom into motherhood.

Louise is a London born artist and film maker. Her work is largely autobiographical. She uses video, drawing and painting and is concerned with light, life, love and atmosphere. Her perspective is of course a female one.


The single channel video FIN is a short fragment from the end credits of François Truffaut’s La Sirène du Mississipi. The excerpt features a couple walking hand-in-hand in a bleak, snowy landscape away from the viewer, who can hear their footsteps and a wind that suggests suspense. At one point the female trips but beyond that little else happens, the end is delayed; FIN is slowed down so that the end is never suspended. The work plays with the expectations of cinematic and linear time and offers suspense and unfulfilled expectation as opposed to narrations usual completion.

Eli Cortiñas was born in Las Palmas de Gran Canaria and currently lives and works in Berlin. Having studied at the European Film College in Denmark the artist attended the Academy of Media Arts Cologne. Her work was most recently included in Videonale 14, the festival for contemporary video at the Kunstmuseum Bonn, The Latino Video Art Festival of New York, video_dumbo NY, From Madonna to Madonna at Domus Artium (DA2), Salamanca, Spain. Towards the end of 2013 Dial M for Mother will be presented at Wilhelm-Hack-Museum, Ludwighafen, Germany. The artist’s most recent exhibition was at ROKEBY, London, where she will have a further solo exhibition having been selected for the Spain Now! festival in OCtober 2013. Eli Cortiñas has just been awarded the 2014 Villa Massimo fellowship.

A Mystery Play Production Still I (Ascension) med

For “A Mystery Play”, Dawood reprises his interest in Buster Keaton as well as his connection to Harry Houdini, via the Vaudeville Circuit of the 1920s, which coincidentally included Winnipeg, with both performers having performed at the Pantages Playhouse, which is still in use as the Playhouse Theatre. The new work was staged and filmed between the Playhouse, the Manitoba Legislative Building, the Winnipeg Zoo’s lion cage, and various outdoor locations. Drawing on research into the Masonic symbolism inherent in the Legislative Building, parallel ideas of magic, or visual sleight-of-hand encompassed in the work of both Keaton and Houdini, the film also maps out various other histories and narratives contained within Winnipeg and Canada. Historic figures are introduced, for example, Mademoiselle Adgie, the burlesque dancer who performed with lions for the opening gala of the Pantages Playhouse and Canadian magician, Dai Vernon, known as “the man who fooled Houdini.”

The film itself is an atmospheric black and white short, of thirteen minutes in length, with the action (a lyrical interweaving of the plausible connections between the various characters and the city), intercut with the various stages of initiation incorporated into the architecture of the Legislative Building. The film builds to a final climactic scene, restaging one of the key stunts from Keaton’s classic 1928 Steamboat Bill Jr., where a house appears to spiral down to the ground in a storm, and Keaton steps through the door, thus bringing together the strands of architecture and screen magic.

Shezad Dawood was born in London in 1974 and trained at Central St Martin’s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University. Dawood works across many different forms of media, and much of his practice involves curating and collaboration, frequently working with other artists to build on and create unique networks of critically engaged discursive circles. His collaborative Feature film (2008) relocated the action of a traditional western to the English country-side, slipping into other sub-genres such as the zombie-flick, and Wagnerian opera (and features cameos from artists Jimmie Durham and David Medalla). Insha’allah 2009 restaged Beckett within Islamic immigrant communities in Milan. Dawood’s work has been exhibited internationally. He currently lives and works in London, where he is Senior Lecturer and Research Fellow in Experimental Media at the University of Westminster.


City of Nature, weaves together excerpts from popular films, ranging from Fitzcarraldo to Twin Peaks in which nature is the only character featured onscreen.  These short clips are edited together to form what the artist calls a “video collage” or seamless montage, before being translated through freehand, computer assisted digital animation.  The resulting animated video stands as a visually striking and original work containing subtle, but deliberate echoes of iconic cultural moments embedded in our collective unconscious.  In much the same way that Madison Square Park presents a cultivated and aestheticized side of nature, wildlife and green space amidst the urban landscape of central Manhattan, City of Nature examines the ways in which popular culture presents aestheticized images of the natural work, “unnatural” visions of nature that embed themselves in our cultural memory and media landscape more deeply than we may consciously know.

Kota Ezawa is a German-born, San Fransisco-based video artist and illustrator who creates simple, graphic illustrations over film footage to produce short, witty narrative videos. Kota Ezawa has had numerous solo shows in museums across America, including Medley, Wexner Center for the Arts, 2009; Lennon Sontag Beuys, St. Louis Art Museum, 2008, Artpace, San Antonio, 2006 and Matrix 154, Wadsworth Atheneum, Hartford, CT, 2005. Ezawa has been included in group exhibitions at the San Francisco Museum of Modern Art, the Museum of Modern Art New York, Berkeley Art Museum, the Metropolitan Museum of Art, as well as the 5th Seoul International Biennale of Media Art and the 2004 Shanghai Biennale. His recent publications include Odessa Staircase Redux, (ECU Press/JRP Ringier, 2010), and The History of Photography Remix, (Nazraeli Press, 2006). He received a Louis Comfort Tiffany Foundation Award in 2003, a SECA Art Award from the San Francisco Museum of Modern Art in 2006 and a Eureka Fellowship in 2010. Ezawa lives and works in San Francisco.  He is represented by the Haines Gallery, San Franciso and Murray Guy Gallery, New York.

The Floating World | HDV | 15 minutes. Premiered on the 26 April 2013 at Kino der Kunst, Berlin. The film was shot in collaboration with award winning cinematographer Robbie Ryan BSC. Music for The Floating World is composed by Jóhann Jóhannsson and sounds works by Jana Winderen.

Clare Langan studied Fine Art at the National College of Art and Design, Dublin and with a Fulbright Scholarship, completed a film workshop at New York University in 1992. Her most recent film The Floating World premiered on 26th April 2013 at Kino Der Kunst Munich – the prestigious international jury included artists Cindy Sherman and Issac Julien, Amira Casar and Defne Ayas.

Vardeldur, 2012 was made as part of Icelandic band Sigur Ros’ – Valtari Mystery Film Experiment, and premiered at the BFI as part of the London Film Festival in October 2012

State of Suspension, 2012 was shown in Galerie Anita Beckers, Frankfurt, and The Rubicon Gallery, Dublin. Her film Metamorphosis, 2007 won the Principle Prize at the Oberhausen International Short Film Festival, Germany. In 2007 it was exhibited at the Lyon Biennale; Houldsworth Gallery, London; Loop, Barcelona; NCA Gallery, Tokyo; Pratt Art Gallery New York and the Miguel Marcos Gallery, Barcelona. In 2008 her work was exhibited in the Singapore Biennial, curated by Fumio Nanjo, and toured to Dojima River Biennal 2009, Osaka Japan.

In 2003 Langan presented A Film Trilogy at MoMA in New York and at the Royal Hibernian Academy, Dublin. In 2002 she represented Ireland in the 25th Bienal de Sao Paulo, Brazil where Too dark for night was exhibited. The trilogy was exhibited together for the first time at The International 2002, Tate Liverpool for The Liverpool Biennial. She participated in the Glen Dimplex Artists’ Award 2000 at The Irish Museum of Modern Art. Langan represented Ireland at Sounds and Visions, Art Film and Video from Europe, Museum of Modern Art , Tel Aviv in February 2009. I Gaer (Yesterday) 2007, was created for Becks’ Fusions curated by the ICA London. It incorporated the music of Sigur Ros and is touring internationally through 2009 -2010. The Wilderness, Part 1, 2010 was in the Busan Biennale 2010, South Korea and in the RHA Gallery, Dublin, in September 2010.

Her films are in a number of international public and private collections including The Irish Museum of Modern Art, the Tony Podesta Private Collection, Washington, and the Hugo and Carla Brown Collection, UK.

Judges' Cabin

Both Perfect Mountain and Leap after The Great Ecstasy are filmed in the same alpine village, Engelberg, where Manchot is working on an extended body of work. Both works look at the relation between the natural and artifice in our human search for a brief moment of perfection.

Melanie Manchot is a London-based artist who explores portraiture as a performative and participatory practice. Working with photography, film and video, her projects often propose constructed events or situations in public spaces and form engaging explorations into our individual and collective identities. Manchot’s work has been exhibited internationally, with solo presentations at Haus Am Waldsee, Berlin; The Photographers’ Gallery, London; Focalpoint Gallery, Southend-on-Sea; Kunsthaus Mettmann, Duesseldorf; and Cornerhouse, Manchester. She has contributed to numerous group exhibitions, including the 52nd Venice Biennale and the first Moscow Biennale.

Night Moves, 2012 Pro REs digital video with sound 6:01 (looped) Edition of 5. In Murata’s new video, a collaboration with Billy Grant, computer generated scans are utilized to recreate his every day environment in high tech 3D. The video starts in his studio, where his computer, desk and chair are “haunted” – dissolving and reforming in a myriad of mirrored shapes, going from recognizable to abstract to obliterated. The scans blend with Murata’s own computer rendered fragments, further emphasizing the high and low, real and unreal. The result can be seen as an homage to both Walt Disney’s The Sorcerer’s Apprentice and Bruce Nauman’s Mapping the Studio.

Takeshi Murata produces extraordinary digital works—videos, loops, installations, and electronic music—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 visions that redefine the boundaries between abstraction and recognition. Sinuous, sensual, and sometimes violent, Murata’s synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital.

Murata was born in 1974 in Chicago. He graduated from the Rhode Island School of Design in 1997 with a BFA in Film/Video/Animation. Murata has exhibited at the MoMA, New York; the Museum of Fine Arts, Houston; and the Yerba Buena Center for the Arts, San Francisco, among others. In 2007, he had a solo exhibition, Black Box: Takeshi Murata, at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Other recent solo exhibitions were held at Vox Populi Gallery, Philadelphia, and Ratio 3, San Francisco. Murata lives in Saugerties, New York.

In Mariele Neudecker’s ‘Winterreise’ Schubert’s song cycle has been used as a basis for a film-project using locations along the 60th parallel north. It is a compilation of 24 short films that exists as a live performance version and a gallery version. We have selected one area.

Mariele Neudecker is known for creating atmospheric alternative realities in glass vitrines. She uses a broad range of media including sculpture, photography, installation and film. Neudecker addresses sublime, romantic views of landscape and the human interest in, and relationship to it. She presented her solo show Over and Over, Again and Again at Tate St Ives in 2004. Her international exhibitions include creating a permanent museum installation This Thing Called Darkness, in 2008, at Arts Towanda, Towanda, Japan. In 2009, she undertook her first visual artist residency at Alderburgh Music and participated in the GSK Contemporary 2009 – Earth: Art of a Changing World, at the Royal Academy of Arts, London. She was shortlisted for the Fourth Plinth 2010 with ‘It’s Never Too Late And You Can’t Go Back’ a fictional mountain landscape which flipped and reversed the shape of Britain and in 2011 she was invited to spend three month at the Headlands Centre for the Arts, San Francisco (USA).

An overhead shot of a snowy landscape. A figure in black removes the snow until it merges with the surface beneath the snow. The figure before the camera vanishes. Escaping in front of the cinemas audience into another space. DLP video projectors often used in recent cinemas reproduce black while sending no light. The black parts of the video turn off the light of the projector – a vanishing image.

Johanna Reich works in the field of video art. It focuses on the tension between the objectivity of the digitally processed image and the emergence of sensuality and poetry. Their compositions are independent sculptures and engage by editing the soundtrack in the room. Johanna Reich studied at the Academy of Fine Arts Münster with Guillaume Bijl, Andreas Köpnick and Peter Schumbrutzki, at the Academy of Fine Arts in Hamburg with Gerd Roscher and Wim Wenders, and at the Faculty of Fine Arts in Barcelona. She is a master student of Andreas Köpnick and a member of the artist group treibeis. Johanna Reich lives and works in Cologne.


Of Water and Ice is a composition for string quartet and video that evolved out of Paul D. Miller’s large-scale multimedia work Sinfonia Antarctica. Of Water and Ice is a music/video exploration of the composition of ice and water and our relationship to the vanishing environment of the arctic poles.

Paul D. Miller (born 1970), known by his stage name DJ Spooky, That Subliminal Kid, is a Washington DC-born electronic and experimental hip hop musician whose work is often called by critics or his fans as “illbient” or “trip hop”. He is a turntablist, a producer, a philosopher, and an author. He borrowed his stage name from the character The Subliminal Kid in the novel Nova Express by William S. Burroughs. He is a Professor of Music Mediated Art at the European Graduate School and is the Executive Editor of Origin Magazine.

Jaan Toomik (born 2 October 1961 in Tartu) is an Estonian video artist, painter and award-winning filmmaker. In the Estonian art world Toomik received recognition as a painter from the late 1980s and from the early 1990s as an installation and video artist. The critics often refer to him internationally as the most well-known contemporary artist from Estonia mainly due to his short video works that have received wide international acclaim (e.g. Father and Son, 1998). He has participated at the São Paulo Biennale (1994), ARS ‘95 (1995), Manifesta 1 (1996), Venice Biennale (1997; 2003), 4th berlin biennial of contemporary art (2006), Ostalgia (New Museum, NY, 2011) etc


“an emission of light that shines from the darkness, having special significants as metaphor and allegory in the philosophy of life…”

The art film “Luminescence origins” is the first draft shot of Luminescence. It is a different piece from “Luminescence”, it is to be considered like the piece at the origin of the full scale “Luminescence” which is under development.

The collaborative poise between the artists approximates a kind of collective synesthesia, where each artist is able to create, express and design with a sense of image, motion, colour and sound, in ways that enhance the creative partnership. Luminescence and the invocations of meaning and experience are felt implicitly through the frequency, energy and vibration that each actions emits and evokes. The correspondence of their trajectories are enabled and mobilized through the creation and performance of art; being at once conceptual and representational at the same time.

This work opens portals in the imagination through artistic expression which interprets the working of consciousness and sensual mindfulness through the language of art.

Aubert Vanderlinden: Choreography, Visual & Dance
Paul Gladstone-Reid: Music
Fabian Weber; Cinematography, Photography & Visual

Aubert Vanderlinden is an international award winning dancer/choreographer; he has performed among the greatest ballet companies such as Paris Opera Ballet, San Francisco Ballet or even Het national Ballet. He has been choreographing for nearly 10 years. Fascinated by creativity and art, he naturally dives in all forms of art.

Paul Gladstone Reid, MBE, is a versatile composer of concert music, dance, theatre, and contemporary crossover work, performed by his own ensembles and orchestras such as the London Philharmonic Orchestra, Deutsche Kammerphilharmonie, Royal Philharmonic Concert Orchestra, and London Musici. No stranger to the artworld, he enjoys a long-standing collaborative relationship with artist and filmmaker, Isaac Julien.

Fabian Weber is world renowned for his epic landscape features for sport and extreme physical performance. As a former top athlete, Weber knows and understands the fine art of motion. His cinematographer and fine art photography encompasses large-scale productions, adverts and award-winning motion pictures. With Luminescence, he is expanding his creative practice to art with multiscreen video installation, large-scale photography and live visual art performance.

the poetics of mountains, their mutations and multifarious things – Verbier 27 July

In Artprojx, Billy Grant, Clare Langan, Darren Almond, DJ Spooky, Eli Cortinas, Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid, Jaan Toomik, Janet Biggs, Johanna Reich, Kota Ezawa, Louise Camrass, Mariele Neudecker, Melanie Manchot, Paul Gladstone Reid, Paul Goodwin, Sanford Biggers, Shezad Dawood, Takeshi Murata, Ulu Braun, Verbier on 15/06/2013 at 7:04 am
Perfect Mountain by Melanie Manchot

Perfect Mountain by Melanie Manchot (still)

Artprojx presents

the poetics of mountains, their mutations and multifarious things

Selected by David Gryn

A Screening in Verbier, Switzerland 27 July 2013
Verbier 3-D as part of its ‘Mutations’ programme

Artists include: Darren Almond, Sanford Biggers, Janet Biggs, Ulu Braun, Louise Camrass, Eli Cortinas, Shezad Dawood, Kota Ezawa, Clare Langan, Melanie Manchot, Takeshi Murata and Billy Grant, Mariele Neudecker, Johanna Reich, DJ Spooky, Jaan Toomik, Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid.

The poetics of mountains, their mutations and multifarious things is a reflection on the place of this screening and how an audience engages with it’s own reflection.

A programme of mountain, snow and mutation inspired and related films. The selection includes artists’ films and videos that explore how we see and react to the world via the imagery, aesthetics, icons of mountains, snow, ice and indeed their ever-ending mutations. This reflects back on the location and creates a landscape of works that feel as though they belong and are at home in Verbier.

Artists and works:

Darren Almond – Arctic pull (courtesy the artist and Jay Jopling, White Cube, London)
Sanford Biggers – Shuffle (courtesy the artist)
Janet Biggs – In the Cold Edge (courtesy of the artist, CONNERSMITH, Washington D.C. and Winkleman Gallery, New York)
Ulu Braun – VERTIKALE (courtesy the artist and YoungProjects, Los Angeles)
Louise Camrass – On becoming a mother (courtesy the artist)
Eli Cortinas – Fin (courtesy the artist and Rokeby Gallery, London)
Shezad Dawood – A Mystery Play (courtesy of the artist and Paradise Row, London)
Kota Ezawa – City of Nature (courtesy the artist, Galerie Anita Beckers, Germany and blinkvideo
Clare Langan – The Floating World (courtesy the artist, Galerie Anita Beckers, Germany and blinkvideo)
Melanie Manchot – Leap after The Great Ecstasy / Perfect Mountain (courtesy the artist and Galerie m Bochum)
Takeshi Murata and Billy Grant – Nightmoves (courtesy the artist and Salon 94)
Mariele Neudecker – Winterreise (A Winter’s Journey) – song 24 (courtesy the artist)
Johanna Reich – Black Hole (courtesy the artist, Galerie Anita Beckers and blinkvideo)
DJ Spooky – Of water and ice (courtesy the artist)
Jaan Toomik – Father and Son (courtesy the artist and Temnikova & Kasela Gallery)
Fabian Weber | Aubert Vanderlinden | Paul Gladstone-Reid – Luminescence: Origins’ Part 1 (courtesy the artists)

Panel Discussion, ‘Mutations’: Moderator: Paul Goodwin (UK), Verbier 3-D curator • Sanford Biggers (US) (installation, video, sculptor) • Paul D. Miller aka DJ Spooky (US) (artist in residence at Metropolitan Museum of Art) • David Gryn (UK) (film curator, Art Basel in Miami Beach and other Artprojx events worldwide) • Kiki Thompson (CH) (sculptor and co-founder Verbier 3-D)

After the Artprojx ‘poetics’ screening: A performance by DJ Spooky and Crista Kende, violist of the Verbier Festival Orchestra and a collaboration with David Gryn, Artprojx


Facebook event


20th July to 4th August

Collective Perspectives: A Museum without walls. Photo exhibition @ Caisses Médran by the lift station. 1:30 to 5:30 daily, free entry

Ship of Tolerance: Children’s paintings in Place Médran by the lift station. Outdoor exhibition

27 July

Panel Discussion Mutations: 3:30  @ Caisses Médran by the lift station, free entry (It is a big room, so no need to reserve)

Artprojx presents: The poetics of mountains, their mutations and multifarious things. On the big outdoor screen at Place Médran 27/28 July 5:30 to 6:15 parts I and II

Mutations: Live music and multimedia collaboration. Paul D. Miler aka DJ Spooky That Subliminal Kid with Crista Kende with videos selected by David Gryn @ Pub Mont Fort 10pm to closing, free entry (capacity of 450). Located behind Médran just off of the Rue de Ransou.

28 July

Artprojx presents: The poetics of mountains, their mutations and multifarious things @ Médran conference room (follow Festival signs), free entry 2 to 3:30pm

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.







Untied Tastes of America at the Hamburg International Short Film Festival 2012

In 3001 Kino, Art, Artprojx, Artprojx Cinema, Jesper Just, Kota Ezawa, Martha Rosler, Meredith Danluck, Mungo Thomson, Rashaad Newsome, Ryan McGinley, Ryan McNamara, Slater Bradley, Takeshi Murata, Untied Tastes of America, Video, Yael Bartana, zeise on 21/05/2012 at 10:05 am

Artprojx Cinema presents

Untied Tastes of America
artist’s films and video

selected by David Gryn

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 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.

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


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 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


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