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Six Not-to-Miss Shows at the Venice Architecture Biennale – NY Times

In Arcadia Missa, Bauer Hotel, Daata, Daata Editions, Hannah Quinlan, Hettie Judah, New York Times, Rosie Hastings, Uncategorized, Venice Achitectural Biennale, Zuecca Projects on 27/05/2016 at 3:45 pm

The architect Alejandro Aravena, the surprise winner of this year’s Pritzker prize (and subject of a feature by Michael Kimmelman in T’s upcoming issue) wants to pull architectural focus away from starry prestige projects and attention-grabbing landmark buildings. Under Aravena’s direction, this year’s Venice Architecture Biennale will focus on architecture that addresses actual — and often urgent — daily human needs. He views the advancement of architecture not as “a goal in itself but a way to improve people’s quality of life.” Later this week, Aravena’s central exhibition, “Reporting From the Front,” will open alongside national presentations and special projects. Many, including the handful of diverse projects below, offer their own reports from architecture’s many fronts.

A view of historic structures in Sana, Yemen. Credit: Liedwien Scheepers

Yemen

The notion of reporting from the front line is, as its curators point out, “unfortunately directly applicable to the Yemen pavilion.” This modest but important exhibition will focus on the conflict-ravaged country’s vernacular architecture, traditional building techniques and the spectacular ancient structures still standing in the capital, Sana (pictured above). At a moment when the destruction of important ancient structures is the stuff of international headlines, boning up on imperiled world heritage is an urgent imperative.

One of the sites featured in Poland’s exhibition. Credit: Michał Gdak

Poland

Poland eyes a front line that implicates us all, turning the focus of its pavilion to the construction industry and the making of buildings. Following hot on the heels of controversies surrounding labor conditions on high-profile projects including the Guggenheim Abu Dhabi Museum, the pavilion’s theme, “Is Fair Building Possible?” investigates the human cost of architecture. (Above, a photo taken during the process of creating the exhibition.

“Scrutable Landscape Series No. 017,” 2015, a pigment print that highlights the scarcity of space that challenges Korean architecture. Credit: Kyungsub Shin

Korea

FAR stands for Floor Area Ratio — the amount of floor space a building can offer in relation to the size of land it is built upon. It’s a hot topic in Seoul, where architects are driven by the market to optimize their use of space, and struggle to balance this with considerations of quality of life.

Geoff George’s “House Fire,” 2013, is one of 20 postcards depicting Detroit that will be distributed to fair-goers at the United States’ pavilion. Credit: Geoff George

United States

“The Architectural Imagination” offers a dozen exercises in speculative architecture for the city of Detroit. Its curators, Cynthia Davidson and Monica Ponce de Leon, have selected 12 very different architectural practices from around the U.S., each of which spent time in the city’s neighborhoods before proposing projects. While these address the specific needs of Detroit, the curators note that the ideas are relevant to all cities “dealing with empty factories and declining population.” Twenty postcard designs showing Detroit through the eyes of residents and visiting photographers, including the one shown above, will be distributed at the Biennale.

A view of the United Nations’ Camp Castor in Gao, Mali. Credit: Courtesy of Malkit Shoshan

The Netherlands

The curator Malkit Shoshan specializes in the architecture of conflict, and for “Blue,” she focuses on the structures created by the United Nations at Camp Castor in Gao, Mali. “Blue” indicates, on the one hand, the blue helmets of the peacekeeping mission, and on the other, the “blue men” of the Tuareg, in whose region the mission is situated. Shoshan suggests the military camp itself as a permeable cultural location rather than a fortress, and one that brings with it the possibility of positive change.

Hannah Quinlan and Rosie Hastings’s “Centre Stage,” 2016. Credit: Courtesy of the artists & Daata Editions

@Gaybar

The @Gaybar project explores a rather more familiar front line — that of creeping gentrification. The artists Hannah Quinlan and Rosie Hastings document and recreate London’s historic gay bar spaces as they shut down in the face of rapid gentrification. In Venice, they’ll present new film works exploring disappearing LGBTQI spaces in the bar of the Bauer Hotel.

Daata Editions et l’art de demain

In Art Basel, Art Basel in Miami Beach, Art Fair, Asialyst, Brussels, Daata Editions, daataeditions, David Gryn, Digital, digital art, Independent, Jeff Koons, New York Times, Uncategorized, Video Art on 17/04/2016 at 10:37 am

Daat new flyer image pink April 2016

Franck Barthelemy feature on Daata Editions in Asialyst.

From the New York Times Conference: Art for Tomorrow in Doha, Qatar, March 2016. Posted to celebrate Daata Editions participation in the inaugural Independent Brussels April 2016.

La dernière conférence du New York Times Art for Tomorrow s’est tenue à Doha (Qatar) en mars dernier.
Le thème choisi pour 2016 n’est pas banal, même à Doha, une ville qui se projette sans complexe dans le XXIème siècle : Technology, Creativity and the City. Des intervenants prestigieux du monde des arts et au delà du monde de l’urbanisme ont échangé idées et arguments avec passion, parfois confusion.
Parmi elles, Charles Landry, HE Sheikha Al Mayassa, Wim Pijbes, Aric Chen, Jean Nouvel, David Gryn, Jeff Koons, Marina Abramovic et plusieurs dizaines d’autres.
J’ai particulièrement apprécié les débats sur l’art et l’internet, qu’il s’agisse d’accès, d’appréciation ou de modalité de vente.
Les partisans de l’art qu’on doit voir « en vrai » et ceux de l’art qu’on peut voir sur un écran se sont affrontés avec diplomatie pour aboutir à un dialogue du type anciens contre modernes.

Je crois que ce débat est persistant dans un monde où les technologies ne cessent d’évoluer.
Je crois aussi qu’il est inutile.
Il y aura toujours des amateurs de musées réels et des amateurs de musées virtuels.
Il y aura sans doute d’autres formes de « lieux » d’expositions dans les années à venir.
Et surtout, il y a déjà et il y aura encore de nouvelles formes d’art, des formes que les artistes inventent en fonction des technologies disponibles.

Je crois que le débat doit s’ouvrir à ces nouvelles formes d’art.
Par exemple, un son. Comment le fait-on entendre ? Dans le circuit des galeries ? Pas facile ! Quel prix attribuer à un son ? Comment l’artiste développeur de son peut-il vivre de son œuvre ? Comment distribuer un son ? Comment stocker un son ? On peut se poser les mêmes questions pour une succession d’images animées de 3 secondes par exemple. Ou encore, une vidéo de 1.5 minute.

L’initiative de David Gryn, un commissaire américain (le créateur de Film à Art Basel Miami Beach depuis 2011), spécialiste d’images animées, m’est apparue à cet égard remarquable.
Gryn a créé l’an dernier Daata Editions, une plateforme internet dédiée aux images animées, aux sons et aux courtes vidéos. Depuis plusieurs années, il se demandait comment promouvoir et développer un public pour les artistes qui produisent des images animées et des sons que l’on trouve parfois gratuitement sur internet sur les sites des artistes, et plus généralement nulle part excepté dans quelques musées ou des collections très spécialisés.

Sur ses propres fonds et initialement soutenu (grâce à la pratique du seed funding) par la collectionneuse et philanthrope Anita Zabludowicz, Gryn a conçu un site internet pour distribuer des images animées et des sons.
Son point de départ : comment aider ces artistes qui utilisent des supports multimédia que l’on n’expose pas dans les galeries et en conséquence qui sont peu vendus.
S’ils sont peu vendus, ils sont peu connus et n’ont donc aucune chance d’accéder à un large public.

Gryn propose en ligne des « saisons » qu’il commissionne à des artistes qu’il connaît personnellement ou qui lui sont recommandés.
Il fait son travail de commissaire et sélectionne quelques artistes. Il produit l’œuvre de l’artiste et l’achète.
Il propose ensuite de vendre sur la plateforme internet une édition de 15 en général. Pour chaque vente, l’artiste touche une royaltie.

La première « saison » a présenté le travail de 18 artistes, spécialement conçu pour être vendu sur la plateforme.
A peu près 300 œuvres ont été vendues en ligne à un peu de moins de 100 clients.
Le prix d’une œuvre varie de quelques centaines à quelques milliers de dollars.

Le site n’est pas une galerie en ligne mais une plateforme de distribution.
Chaque artiste est montré de la même façon. Personne n’est mis en avant.
L’acheteur potentiel doit faire un choix parmi les artistes de la saison en cours. Il doit être actif et exercer son sens critique pour passer à l’acte d’achat.
L’acheteur doit trouver les images, le son ou la vidéo qu’il veut, qu’il recherche ou tout simplement qui l’interpellera.
Au bout du compte, il se retrouvera avec un fichier sur son ordinateur qu’il appréciera seul, qu’il partagera avec des amis, qu’il mettra peut-être en scène chez lui.

Gryn n’a pas l’intention d’attirer sur la plateforme les fonds d’investissement qui font et défont les cotes des artistes contemporains.
Il partage naïvement avec d’autres collectionneurs ce qu’il trouve bon et intéressant, parfois avec l’aide d’autres experts ou amateurs de son entourage. Gryn construit un écosystème pour soutenir de nouvelles formes d’art immatérielles.
Pour le moment, Dataa Editions est une petite start-up qui emploie une personne à mi-temps.
Compte tenu de l’évolution constante des formes d’art et des technologies pour les réaliser, je peux aisément imaginer que la petite start-up deviendra grande.

En fait, le succès de l’entreprise de David Gryn a peu d’importance.
Il ouvre une réflexion sur la distribution des œuvres d’art, matérielles et immatérielles. Il nous propose d’imaginer de nouvelles voies, de nouveaux écosystèmes pour soutenir la création.
Les conversations de Doha ont porté davantage sur les lieux et les infrastructures pour accueillir la création.
Peut-être que l’an prochain, pourraient- elles porter sur les nouvelles formes d’art dans la citée et les nouveaux écosystèmes pour les encourager ?

Franck Barthelemy
Diplomé de l’EDHEC, Franck rejoint d’abord le corps diplomatique comme attaché commercial auprès de l’ambassade de France de Bombay en 1993. Il a depuis quitté la diplomatie pour le monde des affaires mais il n’a jamais perdu sa passion pour l’Inde ; passion qui l’a conduit a développer un nouveau modèle de développement pour les ONG indiennes. L’art n’étant jamais très loin, il est depuis 2009, consultant et découvreur de talents artistiques pour collectionneurs.

Article in Asialyst

https://asialyst.com/fr/2016/04/12/daata-editions-et-lart-de-demain/

Daata Editions feature in the International New York Times

In Art Basel, artists, Artprojx, Collection, Collector, Digital, Frieze, Hammer Museum, New York Times, NY Times, Sound, Video, Zabludowicz on 15/10/2015 at 6:10 am

International New York Times, The Art of Collecting, 14 October 2015, p.2 copy

International Arts – The Art of Collecting

Website Gives Stage to New-Media Artists 

By Ginanne Brownell Mitic

International New York Times

This is what a hit looks like in the age of digital art. 

A web video piece called “she’s so talented,” by the Canadian born, New York-based artist Chloe Wise, sold three copies within a day of being posted in May on Daata Editions, a digital art marketplace. 

The video, 1 minute 3 seconds and set in Boca Raton, Fla., features a gender-bending character in a variety of poses: drinking Red Bull in a pink velour zip-up jacket on the beach, sitting on a sofa in a high-rise condo, doing dance moves while dressed in a floral midriff top. The soundtrack includes conversational snippets overheard by the artist at last year’s Art Basel in Miami Beach, including “She’s so talented, she’s a real artist,” and “Listen, if you are on the wait list, that means you are in the liminal zone between being no one and actually being someone.” 

“Miami is a place of excess, of vacation and gluttony, but also the art market, with lots of consumerism going on,” said Ms. Wise, who graduated from art school in Montreal in 2013. “It is a really interesting place to overhear things.” 

And, apparently, to get on board with a new way to sell art. Miami is also where Ms. Wise first met David Gryn, a London-based curator who, along with the British collector and philanthropist Anita Zabludowicz, co-created Daata Editions. The website, which debuted during this year’s Frieze Art Fair in New York, combines the growing online art sales scene with the mushrooming market value of new media art. 

Ms. Wise was one of 18 new-media artists invited to be part of the inaugural group to show on the website. The group includes Jon Rafman, Takeshi Murata, Hannah Perry, Ilit Azoulay and Stephen Vitiello

“I have learned to say no to a lot in the art world, as you sense ‘I do not trust this person,”’ said Mr. Vitiello, a Virginia-based sound and visual artist who created sound works for Daata with names like “Stars in My Pocket Like Grains of Sand.” 

“But you try and say yes to those that instinctively feel interesting, and I thought, ‘Why not give this a shot?”’ 

The idea behind Daata is simple. Once a year, 18 video, sound and digital artists will be commissioned to do six pieces of three minutes or less, 15 editions of each piece. The works are available to be purchased and downloaded from the site. 

Daata has a sliding price scale. Sound, web and digital works start at $100 and increase by edition to a top price of $2,800; for video, the starting price is $200, increasing by increments to a top price of $5,600. The price difference, Mr. Gryn said, is linked to the perceived higher market value of video. Daata keeps the revenue and pays each artist a 15 percent royalty on each sale. 

The website got an institutional boost in mid-October with the announcement that two museums had become benefactors. The Julia Stoschek Collection in Düsseldorf, Germany, has purchased the full set of new works, and the Hammer Museum in Los Angeles has accepted a full edition as a gift. The Hammer’s chief curator, Connie Butler, said in a statement that the pieces would “extend the museum’s history of collecting and displaying new media work.” 

Seed funding for the site came from Ms. Zabludowicz, who remains an adviser. The site is staffed by Mr. Gryn and a producer. Their intention is to break even by 2017. 

The first release took place during the Frieze Art Fair in New York, followed in June by a release during LOOP in Barcelona, Spain. After Frieze London, there will be three more releases during Season One, which will extend into early 2016. 

Mr. Gryn, who curates the outdoor film screenings at Art Basel in Miami Beach, said the idea for Daata grew out of his and Ms. Zabludowicz’s observations that collectors were hesitating to buy new media art and gallerists were struggling with how to show it. That, in turn, led to gallerists’ hesitating to bring new media works to art fairs because they tended not to sell well during such high-stakes, high-profile events. 

“We are all so very used to buying music and film online without having to own physical items we have purchased,” Ms. Zabludowicz wrote in an email. “The art mediums are not very different. There are natural similarities in these immaterial art forms. We are making it very simple to show and collect the works that have been commissioned.” 

The British artist Hannah Perry, who was one of the inaugural 18, acknowledged that the concept of collecting video art was difficult for some people to get their heads around. 

“Once you buy something, how do you display it or how do you share it?” she said. “I had a collector say to me once, ‘Do I put a monitor on the wall during a dinner party? Do I keep the sound down? How do I put the sound in?”’ 

When Ms. Perry sells a video work, she includes in the box not only with the certificate of authenticity but also a small silkscreen print related to the piece that the owner can display. 

The perception that video or sound art is difficult to grasp is something that Mr. Gryn hopes will change with Daata. 

“We are not a gallery — we are not art advisers,” he said. “What we are is a commissioning platform that works with artists who work in those mediums and who promote their art form and nurture awareness. My idea is that you make a self-sustaining business that commissions the next round of artists’ works.” 

By the beginning of September, all the inaugural artists had sold several editions of their works, and there were over 500 downloads of a free Jon Rafman video. By Mr. Gryn’s standards, “that is fantastic,” he wrote in an email, because it means the work is being seen and bought. 

Jessica Witkin, the director of the New York gallery Salon 94, which specializes in new media, drew a parallel with how collectors eventually warmed to photographic art, accepting the idea that more than one edition could be available. 

“I think it is really important what they are doing, supporting artists from the inside,” she said. Ms. Wise agreed, saying that if Daata had not commissioned her Florida videos for the platform, they would not have been made. 

“Basically,” she said, “they are pushing the cycle further and allowing digital to really be appreciated and have acceptability, viewership and be funded.” 

http://www.nytimes.com/2015/10/14/arts/international/website-gives-stage-to-new-media-artists.html?mwrsm=Facebook&_r=0

http://daata-editions.com