Daata presents Anhedonia by Jacky Connolly at NADA New York 2017

Daata Editions presents …

Anhedonia, 2017 by Jacky Connolly

NADA New York, March 2–5, 2017 (Booth 1.03)
Skylight Clarkson North, 572 Washington St. New York, NY 10014 

https://www.newartdealers.org/

VIP Preview by Invitation: Thursday, March 2, 12–2pm
Opening Preview by Invitation: Thursday, March 2, 2–4pm

Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum of American Art, New York and Jacky Connolly in Conversation at the NADA Auditorium: Saturday, March 4, 3–3.45pm

Jacky Connolly, Anhedonia, 2017 (a New Daata Editions Artist Commission)
In Anhedonia (2017), a machinima film in six parts, Jacky Connolly turns her filmmaking practice towards a mysterious group home in the virtual American South. Several avatars live in three small buildings near the town’s railroad yard, where their lives are punctuated by hours spent in front of a screen. Images from elsewhere begin to intrude with mounting intensity, as the boundaries of the film are fractured by the characters’ visual and auditory hallucinations. These moments of psychosis give insight into the characters’ shared histories, as well as the dissociative atmosphere of their cultural landscape.

Jacky Connolly (b. 1990, Lower Hudson Valley, USA) is an artist and filmmaker based in New York. Connolly’s film works are indebted to cinematic and literary genre influences, as well as an innovative use of machinima technique for imaginative world-making and storytelling. She recently completed Hudson Valley Ruins (2016), a 30-minute machinima film created in a life simulation computer game.

Jacky Connolly’s commissioned artworks for Daata can be viewed and acquired online. There are 6 works available in chapters: 1. Anhedonia, 2. Anemia, 3. Alexithymia, 4. Amygdala, 5. Anorexia, 6. Amnesia, each in an edition of 26, of which 20 are for sale. An additional composite feature version (screened daily at NADA) is available for art Institutional acquisition and international film screenings. http://daata-editions.com

Chrissie Iles will be in conversation with Jacky Connolly on Saturday March 4 at 3pm in the NADA New York auditorium space, introduced by David Gryn of Daata Editions. Chrissie Iles is the Anne and Joel Ehrenkranz curator at the Whitney Museum of American Art, New York, and her recent curatorial exhibition was “Dreamlands: Immersive Cinema and Art, 1905–2016”. http://whitney.org/

The New Art Dealers Alliance (NADA) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art. Daata Editions is collaborating with NADA as a Cultural Partner. https://www.newartdealers.org/

Image: Anhedonia by Jacky Connolly, 2017 (courtesy of artist and Daata Editions)

 

Daata Editions – A 2016 Round Up

 

A Great Daata Year in 2016 and Looking Forward to Daata in 2017 2016 certainly has had its ‘quirks’ in the world-at-large, but Daata has had a truly fruitful and eventful year. With the final artwork releases from Season One, the inaugural Independent Brussels, Art for Tomorrow – NY Times Conference in Doha, launch of the Season Two artist commissions at NADA New York, launch of the Daata App, link up with Artsy for their ICA London Party, Gentrification with Hannah Quinlan and Rosie Hastings at the BBar, Bauer Hotel, Venice in collaboration with Zuecca Projects as part of the Venice Architectural Biennale, sound artworks at Chart Art Fair in Copenhagen, a Venice Film Festival project in collaboration with Zuecca Projects, POSTmatter/Wetransfer project with Saya Woolfalk, the Katherine Finerty curation ‘Reuse, remix, recode‘, new releases at EXPO Chicago, more new releases at Frieze London, launch of New Contemporaries curated artworks, Daata x Artspace Commissions launch with Keren Cytter, Daata on DAD x Apple TV, Virtually Me at Vanity Projects curated by Tiffany Zabludowicz, Legacy Russell’s curated project ‘#WanderingWILDING: Movement as Movement‘, a new look Daata homepage, Keren Cytter screened at Art Basel in Miami Beach and screening at Festive Cultural Traffic. Artists whom we have released newly commissioned artworks by in 2016: Larry Achiampong, Sofie Alsbo, Thora Dolven Balke, Phoebe Boswell, Jake Chapman, Keren Cytter, Graham Dolphin, Anaïs Duplan, Melanie Eckersley, Casey Jane Ellison, Tracey Emin, Hannah Ford, Ed Fornieles, Jasmine Johnson, Joachim Koester & Stefan A. Pedersen, Sara Ludy. Scott Lyman, Michael Manning, Scott Mason, Jonathan Monaghan, Rashaad Newsome, Tameka Norris, Elise Peterson, Quayola, Hannah Quinlan & Rosie Hastings, Ariana Reines, Jacolby Satterwhite, John Skoog, Daniel Swan, Abri de Swardt, Katie Torn, Artie Vierkant, Saya Woolfalk, Zadie Xa. Curators selecting for Daata in 2016: bitforms gallery, Gutter Records, New Contemporaries, Katherine Finerty, Legacy Russell. Foreward texts in 2016: Loreta Lamargese, Gary Zhexi Zhang, Anton Haugen, Lindsay Howard. Instagram takeovers thanks to Daata artists: Chloe Wise, Matt Copson, Helen Benigson, Stephen Vitiello, Florian Meisenberg, Leo Gabin, Rachel Maclean, Katie Torn, Thora Dolven Balke, Michael Manning, Jonathan Monaghan, Sara Ludy, Saya Woolfalk. Daata in the News: i-D, Cultured Magazine, FAD Magazine, Artsy, It’s Nice That, sweet, Aston Martin, Elephant, Artspace, NY Times, POSTmatter and more. Artists soon to be released in 2017: Yung Jake, Jillian Mayer, Camille Norment, Scott Reeder and six artists curated by Zata Banks; Laura Focarazzo, Kate Jessop, C.O. Moed, Julian Scordato, Susanne Wiegner, Antoinette Zwirchmayr. Daata will soon be announcing many other exciting plans, projects, collaborations and commissions. Special humungous thanks to Anita Z and Danai, John, Richard, Alessandro Possati at Zuecca Projects, Andy Moss at Spike Island, Radovan & Jamie at Studio Scasacia and Sutton PR for all their work and support in 2016 to make Daata happen !!! And with utmost thanks and huge appreciation to the artists, curators, galleries, art fairs, institutes, collectors, students, collaborators and to you the viewers who all make this possible and worthwhile. Image: Scott Reeder, Nodes, 2016 (soon to be released on Daata in 2017)

Notes for the Second Season of Daata Editions by Anton Haugen

 

Michael Manning, Dinner Party in the Garden, 2016

Notes for the Second Season of Daata Editions 

by Anton Haugen

In approaching a platform like Daata Editions, one searches for an apt way to describe the experience of screen-based works. In the past, too often have the gallery and its spatial metaphors been invoked to falsely characterize the experience of artwork on the internet, reducing the medium to a mere extension of the gallery structure. This glaring lack necessitates born-digital platforms like Daata Editions and, importantly, new contextual frameworks that can provide ways of understanding these works. However, it’s so easy to forget yourself on a screen. While dependence on mnemonic aids does leave private memory to falter, users are known to experience difficulty in locating the mental faculty to fully separate from the digital networks within which they exist; these networks, in turn, are all too often a systemization and amplification of offline social strata. Where in the past there seemed an unmediated flow of time, there is now an interconnected superfluity of images, capable of simultaneously enveloping and further segmenting any possible interval of a day. Art, once delineated to studios for production and to controlled environments for preservation and reception, finds itself liberated, only to be subject to the comingled flows of content and time. Although there once was the hope that the global village would provide the conditions to transform each person into an artist who would see contemporaneity as a task or an environment to be discussed, to be analyzed, and to be coped with, increasingly, we find this work performed and prepackaged for us: the auxiliaries meant to allow us the tools to cope with the present algorithmically derive their means through the data from ourselves as well as the data from human and nonhuman others, placing us further under the gaze of power and perhaps further from the means to clarify the future. Coping becomes a hyper-individuated task: a task that approaches the apex of a drive towards what can be described as a bureaucratic and alienating specialization.

In its presentation of content by decentralized and reversible analogies, hypertext and its non-linear organization can be seen as indicative of this societal abandonment of culminating narratives. Content and this self-referential nature of its context have altered the ways in which artistic production occurs and is received. Cameras are omnipresent; their images are perpetually in post-production and often possess more apparent value in their metadata than in their content. Scroll bars and load times have supplanted past narrative structures, and with its schizophrenic switching between texts, images, and videos, the internet, at its utmost, has made the mind more malleable to erasure and new traces — the screen is a place for forgetting. Like the impossibility of imagining the platonic ideal of a photograph, the screen finds its definition in its capabilities as a displaying mechanism. The screen and its contents may gather attentions but remains a terminal locus.

Through itself and its architecture, the web uniformly characterizes digital content with the attributes of a performance: each act of downloading or streaming reawakens and performs the apparatuses, both technical and textual, that had laid behind the content’s initial production. With this performativity, screens lend themselves to the blending of manifest ephemerality with invisible permanence, despite these qualities’ diametric opposition. Though one often finds within digital content an appeal to difference within the quotidian, materially, what often occurs is a willingness to deny space in favor of digital content. Spaces, whether within an arts institution or not, begin to slowly transform in order to best invoke that private, half-dreaming denial found in the darkness of a cinema.

Digital memory’s infinite capacity for retention and invocation often leaves one with the feeling of cold feet, considering the oceanic dimensions of the concatenations, both material and immaterial, within this Borges-like archive of digital traces. As content has drastically changed, this context has accordingly resulted in a different impetus towards art curation and viewership. The role of the curator seems less a declaration of a definition of historicity or of belonging to a certain encompassing narrative than an assertion that nears breakage of this type of digital memory’s associative capacities: becoming less a gate and more of a node or transitory centering within the pareidolic fissures that this digital mentality creates. As it is now where the majority of monetary and bureaucratic transactions take place, the internet perhaps no longer possesses its former glean of subversion or utopic transformative visions, but, in the way that documentation generally precedes the presence of the object, the immateriality of the file could be said to possess more of “the real” than the material art object due to digital dissemination’s access and sometimes chaotic democratization.

In a gesture that can be seen as reactive to the general reticence to fully embrace this state of affairs, Daata Editions sees the fertile ground within this immaterial context. Daata is a simple solution, among an infinite number of possible solutions, to a difficult problem: how to promote the production of works that are made to exist for and accordance to the web. Placing artists at the center of its platform, Daata Editions shows how digital dissemination can be a sustainable distribution model for art. In a manner that echoes photographic editions or an artist book, the commissioning platform issues numbered editions of each new work for purchase, demonstrating an understanding of how artistic production can exist empowered rather than destabilized by its digital mass reproducibility and accessibility.

Daata’s curation promotes a certain type of work that considers how medium and content function within the web’s immediate and immaterial context. Typified by their employment of the vernaculars of the web, the works do not seek recourse in the label of art but are instead mindful of how one would produce works targeted to the multi-faceted audiences of the web where there is often the collapse in the distinction between producer and consumer. In a way, artistic work has already become part of the ceaseless flow of content found on any newsfeed. Through Daata, this form of work becomes viable. By allowing users to purchase art in the same way one can buy content from distributors like iTunes, Daata forgoes the model of a gallery in favor of a platform reminiscent of a digital auction to reflect the nuanced mentality of art viewership on the internet: one doesn’t stroll but scrolls.

Now in its second season, Daata Editions furthers its reach, commissioning new works by forty-two artists and expanding its collection to include a poetry tranche. In its navigation of market viability and discursive substance, Daata Editions continues to set new paths for the intersection of art and the web, promoting work that weaves this interstice into the flow of digital content.

Anton Haugen is a writer from Silicon Valley. His texts have frequently appeared in Rhizome and Arachne.

Michael Manning is represented by Gavlak Gallery

Daata at NADA

Daata Editions at NADA New York 2016

Daata Editions will launch Season Two with works by artists: Tracey Emin, Michael Manning, Rashaad Newsome, Jacolby Satterwhite, Katie Torn and bitforms gallery selected artists: Sara Ludy, Jonathan Monaghan, Quayola.

NADA New York
Opening Preview by Invitation:
Thursday, May 5, 12–4pm

Open to the Public:
Thursday, May 5, 4–8pm
Friday May 6, 11am–7pm
Saturday May 7, 11am–7pm
Sunday May 8, 11am–5pm

More info:
newartdealers.org

Artpsace preview

 

 

Daata Editions Launches Online Today

Still: Om Making it rain by Takeshi Murata 2015

Daata Editions

Artists video, sound and web

Launches online today at 3pm

May 14, 2015

NADA NEW YORK

www.daata-editions.com

Daata Editions Season One artists:

Ilit Azoulay, Helen Benigson, David Blandy, Matt Copson, Ed Fornieles, Leo Gabin, Daniel Keller & Martti Kalliala, Lina Lapelyte, Rachel Maclean, Florian Meisenberg, Takeshi Murata, Hannah Perry, Jon Rafman, Charles Richardson, Amalia Ulman, Stephen Vitiello, and Chloe Wise.

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and in the news this week:

artnet 

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New York Magazine

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Artnews

W Magazine

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See:

The Digital Revolutionaries – The Shiboogi Version

Salon 94 Bowery – Video Wall 

www.daata-editions.com

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Daata Editions on Artspace

Screen Shots Program Launch at Soho House NY with Daata Editions

Screen Shots is a new monthly video art program at Soho House New York, showcasing moving image work by international contemporary artists.

David Gryn, Director of Daata Editions has selected the inaugural program, The Digital Revolutionaries: The Gentrified Harddrive version. Running from May 11-June 15, it celebrates the launch of http://daata-editions.com by showing works by some of the commissioned artsits.

Participating artists: Helen Benigson, Ed Fornieles, Leo Gabin, Florian Meisenberg, Takeshi Murata, Jon Rafman, Amalia Ulman, Chloe Wise

Soho House, 29-35 9th Ave, New York, NY 10014

https://www.sohohouseny.com/

Please Note: The Monday Evening Launch event is Fully Booked via Membership at Soho House