David Gryn blog

Archive for the ‘Uncategorized’ Category

Daata Things in Every Thing at Assembly Point 26-29 July

In Assembly Point, Daata, Daata Editions, Daata Things, daataeditions, Every Thing, Peckham, Uncategorized on 06/07/2018 at 10:05 am

 

Screen Shot 2018-07-05 at 21.21.03.pngEvery Thing
An artist multiples event

27 Jul — 29 Jul 2018
Opening: Thursday 26 Jul, 6–9pm

Assembly Point, 49 Staffordshire Street, London SE15 5TJ https://assemblypoint.xyz/

Assembly Point presents Every Thing – a collaborative artists’ project that will showcase a wide range of multiple and unique works for sale from collaborators past and present.

Every Thing is a project that acknowledges the collective place of multiples and artists’ editions within contemporary culture and commerce. Assembly Point is working with Daata Editions and Paper Cuts to present a vast range of things over four days, extending across categories of art media including: prints, publications, photographs, sculpture and performance; in addition to digital media such as moving image, sound and web.

Every Thing will present and offer for sale the work of more than sixty international artists over the course of the project, alongside a public programme of workshops, performances and talks.

Daata Things in Every Thing, artists featured: Daniel Keller & Martti Kalliala, Sara Ludy, Hannah Quinlan & Rosie Hastings, Jon Rafman, Scott Reeder, Saya Woolfalk, Zadie Xa https://daata-editions.com/art/playlists/daata-things-for-every-thing

A Daata Things Trailer / Event details here FB event here

Image still: Scott Reeder on Daata Editions

Advertisements

The Nijinsky Project – Faun by Jane Bustin – Art Night London at the Marriot, London County Hall – July 7

In Art Night, Art NIght London, Dancer, Isaac Gryn, Jane Bustin, John Snijders, London, Marriot, Nijinsky, Uncategorized on 29/06/2018 at 12:44 pm
faun landscape1 copy
The Nijinsky Project – Faun by Jane Bustin. 
 
Art Night London 7 July 2018
An Installation and Performance featuring dancer, Isaac Gryn & pianist and composer, John Snijders.
Book your Free place here
 
The Nijinsky project – Faun
Saturday 7 July 2018

Installation and performance 

Artist: Jane Bustin
Dancer:  Isaac Gryn
Pianist: John Snijders
Music:  Afternoon, variation of Debussy’s “Prélude à l’Après-midi d’un Faune” by John Snijders

at

King George V Room
Marriott Hotel
London County Hall

Westminster Bridge Road
Southbank
London SE1 7BP

Performances: 
6.30pm, 7.30pm, 8.30pm
Duration: 13 minutes

Introduction by Poppy Bowers
In 1912, Ballet Russes premiered L’Après-midi d’un Faune at Théâtre du Châtelet in Paris. Eschewing lyrical movement in favour of geometric shapes, its avant-garde choreography and sexually explicit content divided audiences, prompting both outrage and awe. The performance, now regarded as the first modernist ballet, was choreographed and performed by Vaslav Nijinsky (1889-1950), senior dancer of Sergei Diaghilev’s Ballet Russes, and also his lover.
An iconic dancer, Nijinsky was experimental in his combination of great technical skill with deep, sensual expression. Over recent years, the artist Jane Bustin has made work in response to Nijinsky’s extraordinary formal experimentation. Like Nijinsky, Bustin is concerned with locating emotion within the restrained forms of geometric abstraction. Her pared-down paintings juxtapose panels of oil paint alongside tactile media such as porcelain, silk, copper or latex, to give sensory understanding to historical subject matter.
Faun is a new collaborative work that pays homage to Nijinsky’s tumultuous life. The work comprises of three parts; six table-mounted assemblages made by Bustin, a musical score by composer John Snijders and a balletic performance by the young dancer Isaac Gryn. The table works create a conceptual and spatial framework for the performative components, taking as its starting point a published book of Nijinsky’s life.
Following his ascendency as one who heralded the era of modern ballet, Nijinsky met misfortune. Having secretly married a young dancer, Romola, a furious Diaghilev subsequently expelled him from the Ballet Russes. Failing to recover from the artistic and financial loss of Diaghilev’s patronage, Nijinsky was forced to abandon dance. Suffering from psychosis he spent his remaining years residing in and out of asylums, until his death in Surrey, England. The account of his success and decline is recited in Nijinsky’s biography written by Romola and published in 1933, a single copy of which forms the centrepiece of each table assemblage.
Each book is accompanied by monochrome panels of various media including cloth, porcelain, paint and wood, the fragility of which point to emotionally-sensitive moments in Nijinsky’s life. From tallest to shortest, the tables take the following titles from a chance finding of a 1933 newspaper review that chart Nijinsky’s psychological trauma; Hothouse Plants, Relentless Hatred, Dark Moods, Misfortunes, “I am an Artist” and Romola’s Love. Typical of Bustin’s work, the proportions of the tables relate to the scale of the human body. Here, the table heights correspond to particular ballet movements measured from the young male dancer’s body, who is the artist’s son.
John Snijder’s musical score, titled Afternoon, was created specifically for this project. It reworks the piano piece of the original orchestral work for L’Après-midi d’un Faune composed by Claude Debussy (1862-1918), employing chance operations to unravel its structural order. Developed in dialogue between Bustin and Gryn, with support from Matthew Paluch and Dance Research Studio, a 13-minute dance, made in response to the music, is performed within the parameters of the tables. Combining symmetrical formations with lessening control, Gryn’s movements mirror the untangled composure of the accompanying piano, revealing an intimacy of inner tenderness and anxiety, rather than athletic display.
Contrasting sculptural materials with a temporal performative presence, Faun grapples with the troubled pursuit for artistic perfection and speaks of the psychological vulnerability that is bound up in such ambition.
Poppy Bowers, Exhibitions Curator at the Whitworth, The University of Manchester

John Snijders ‘Afternoon’ 2018
The composition “Afternoon” was created especially for the Nijinsky Project – Faun. I took, as base material, the piano reduction made by Leonard Borwick in 1914 of the orchestral work “Prélude à l’Après-midi d’un Faune”, composed by Claude Debussy (1862-1918) in 1894. For “Afternoon” I have divided the piece into twelve sections, and chose one or two representative bars from each section. These bars were paired so that the piece now contains six structural parts, which do not always follow the original’s chronology. The order of the bars, repeated over and over again, was determined using chance operations. Arriving at a final basic structure, more chance operations were used to determine, bar by bar, if, and if yes, how many notes would be altered, going either up or down in pitch, but not altering the rhythm of the bars. This results in the material remaining recognisable, but slowly deteriorating and getting out of focus until the start of the next section, where the process will start all over again. The six parts relate to the six tables with Jane’s artworks, and the musical process mirrors Nijinsky’s slow descent into developing a more and more distorted mind. 
John Snijders, Artistic Director of the Ives Ensemble, Associate Professor in Music Performance at Durham University.

Jane Bustin, artist, lives and works in London and is represented by Copperfield London
http://www.copperfieldgallery.com/

With special thanks to: Aida Bañeres Argilés, Poppy Bowers, Richard Grimes, Isaac Gryn, Jacky Lansey – Dance Research Studio, Will Lunn, Morley College – Ceramics Dept, Matthew Paluch, Aina Pomar – Copperfield London, Zarina Rossheart – Art Night London, Thornhill Pianos, John Snijders

Birdman Style – Daata Editions – Athens

In Art Athina, Art Fair, Athens, Birdman, Daata, Daata Editions, daataeditions, Elliot Dodd, Greece, Jacky Connolly, Jeremy Couillard, Scott Reeder, Stamatia Dimitrakopoulos, Uncategorized on 21/06/2018 at 2:12 pm
Jeremy Couillard 1

Image still: Jeremy Couillard
Suite for Absynth in D minus USB 1008

Daata Editions has curated a new playlist ‘Birdman Style’ for Birdman Yakitori & Pub in Athens, launched during Art Athina June 21- 24. Daata has collaborated with the fair’s Artistic Director Stamatia Dimitrakopoulos and the playlist features artists Jacky ConnollyJeremy CouillardElliot Dodd and Scott Reeder.

TRAILER

View and shop the playlist HERE

Phillip Birch – New Commission on Daata Editions – Office Shadow

In Art Basel, Art Video, Daata, Daata Editions, daataeditions, Lyles & King, Office Shadow, Phillip Birch, Uncategorized, Video, Video Art on 11/06/2018 at 12:46 pm

Office-Shadow-3 (Sisyphus Rock)

Daata Editions are excited to announce the release of Phillip Birch’s new commissioned artworks titled Office-Shadow (Personas). Birch has produced six short films that take place on a single floor of a computer generated office building. Each video acts as a single chapter of a longer narrative which is told through the point of view of a first person perspective.

Using this perspective, Birch (b. 1978, Detroit) is utilizing the language of video game design which allows the viewer to project themselves into the space as if they are themself the protagonist. The videos draw on Jungian psychology, the mundanity of office work, the visuals of Role Playing Games and the language of Greek mythology to create a world that is at once familiar and unfamiliar.

Birch is represented by Lyles & King and his recent solo exhibitions and performances include Milespires and Reliquaries, Lyles & King, NY; Entering God Mode, Jack Hanley, NY; The Crown of Modernity, 47 Canal, NY; The Hand of God, Essex Flowers, NY; The Chair After Its Method of Implementation, Cleopatra’s, NY.

TRAILER

The Nijinsky project – Faun by Jane Bustin – Art Night London – July 7

In Art Night, Art NIght London, BFI, Copperfield, Gallery, Isaac Gryn, Jane Bustin, Jane Gryn, John Snijders, Marriot, Nijinsky, Uncategorized on 03/06/2018 at 4:43 pm

The Nijinsky project – Faun by Jane Bustin

A performance and installation featuring:

Dancer, Isaac Gryn

Pianist, John Snijders

Art Night London – July 7

King George V Room, Marriott, London County Hall, Westminster Bridge Rd, South Bank, London SE1 7PB

Faun is a performative installation by artist Jane Bustin, inspired by Nijinsky’s iconic work, the first modernist ballet, L’après-midi d’un faune. Bustin presents six artworks each featuring the 1933 biography of Nijinsky by his wife Romola. The live premiere performance conceived by the artist, features her son, dancer Isaac Gryn, alongside a deconstructed version of Debussy’s original composition, titled Afternoon, specially composed by pianist and artistic director of the Ives Ensemble, John Snijders, and will be played live. The installation explores themes of structure and geometry found within relationships of nature and nurture, perfection and failure. Alongside a publication text by curator Poppy Bowers.

Performances at: 6.30pm, 7.30pm and 8.30pm
running time: 13 minutes

Pre-registration required/walk-ins will be admitted depending on capacity

https://www.eventbrite.com/e/the-nijinsky-project-faun-by-jane-bustin-tickets-47239788479

http://2018.artnight.london/projects/jane-bustin/

http://www.copperfieldgallery.com/jane-bustin.html

https://www.marriott.co.uk |

Instagram @janebustin

Queertopia, curated by Gemma Rolls-Bentley for Daata Editions plus invited guests for If So, What? San Francisco

In @gaybar, Artsy, Daata Editions, David Gryn, Gemma Rolls-Bentley, If So, What ?, Jacolby Satterwhite, Queertopia, San Francisco, Uncategorized on 15/04/2018 at 3:30 pm

Queertopia

Queertopia, curated by Gemma Rolls-Bentley for Daata Editions

Launching online on Daata Editions and exhibited at

If So, What?

Palace of Fine Arts, San Francisco April 26-29, 2018 https://www.ifsowhat.com

Daata Editions is announcing a new online project Queertopia, curated by Gemma Rolls-Bentley, Artsy Private Sales Lead and Gay Times Magazine Columnist and Curator, to be launched at a screening exhibition at If So, What?, a new art fair celebrating art, design, music, and innovation in San Francisco April 26-29, 2018. The project will be released simultaneously on Daata Editions website https://daata-editions.com

In addition, Daata Editions has invited three Virtual Reality projects to the fair; a project by San Francisco based artist M Eifler titled Making the Bed, 2017, and Virtual Reality Art presented by Khora Contemporary featuring the premiere of Nikita Shalenny’s The Bridge, 2017, and Paul McCarthy’s C.S.S.C. Coach Stage Stage Coach VR experiment Mary and Eve, 2017.

Daata will also be collaborating with Label Dalbin and their Table.Video – an acclaimed concept that originally debuted at the Venice Biennale and the Design Miami/Basel – by streaming artworks through two custom-made tables at If So, What?.

Queertopia is a collection of work that reviews the existence of queer communities and their spaces – both real and mythological, memorialising those lost and building environments and landscapes to nurture new radical possibilities. The icons, monuments and geography of queertopia present an opportunity to explore future structures of identity, inti- macy and legacy. The list of artists features Holly Blakey, Rindon Johnson, Zoe Marden, Rashaad Newsome, Han- nah Quinlan + Rosie Hastings, Jacolby Satterwhite and Puck Verkade.

Director of Daata Editions and Technology & Sound Curator for If So, What? David Gryn and Gemma Rolls-Bentley will both feature in conversations at the fair.

 

QUEERTOPIA TRAILER

NOTES:

Daata Editions is acknowledged worldwide as a leading platform for commissioning and exhibiting digital artworks, working with both emerging and established artists. Available as limited editions, the 300+ artworks by 70 artists can be viewed and acquired as digital downloads through the website. In 2018 Daata Editions are actively involved in a number of high profile collaborations with renowned international galleries, art fairs, museums, institutions and curators, including projects with Independent NY, If So, What? San Francisco, ArtRio and EXPO CHICAGO among others, and will be releasing a number of new commissions throughout the year. http://www.daata-editions.com

Gemma Rolls-Bentley works closely with artists, collectors and galleries to explore new ways of creating, presenting and discovering art; her specialist interests include queer culture, gender equality and community engagement. Gemma leads the Private Sales business for online arts platform Artsy, which she joined in 2015, and is a member of the board of trustees at SE London charity Deptford X. Gemma writes the queer art column Art Hole for Gay Times Magazine and in 2017 curated The Gay Times Honours in partnership with the National Portrait Gallery. In 2011 she launched the arts arm of the Fawcett Society’s East London branch and ran their 2012-2013 Art Audit campaign. Gemma holds an MA in History of Art from both the Courtauld Institute of Art and the University of Edinburgh.

If So, What? is a new immersive event celebrating art, design, music, and innovation. Taking place April 26- 29, 2018 at the Palace of Fine Arts in San Francisco, If So, What? will feature showrooms by an international roster of curators, exhibitions by galleries from around the world, and artists working in the field of digital media. Visitors will also be invited to attend music performances and a series of multi-disciplinary panel discus- sions with visionary speakers. Inspired by the creative communities in the Bay Area and internationally, the event will invite visitors to experience art and design in a new way. https://www.ifsowhat.com

M Eifler, aka BlinkPopShift, is making unruly art for unruly bodies in an unruly world. They combine AR, VR, performance, sculpture and video to create new chimeras, things in-between things, between art and technology, objects and places, physical and virtual. http://www.blinkpopshift.com

Khora Contemporary is the first Virtual Reality art production company. We provide artists with the best assistance to develop and unleash their imaginative visions, exploring the new medium of VR. We strive to establish VR technology as a widely applied medium within the arts. We bridge the artists’ vision and the infinite possibilities of Virtual Reality. http://khoracontemporary.com

Label Dalbin, established in Paris in 2003 develops art and design collaborations. Label Dalbin produces videos, installations, and performances at the interface between music and the visual arts for cultural institu- tions and private collections. Label Dalbin also conceives innovative audiovisual installation for interior de- sign. The ambition is to define how digital becomes a new luxury and an intelligent material within the archi- tectural context. http://www.dalbin.com

For further information please contact:

Anna Mustonen,

Business Development and Artist Manager Daata Editions
anna@daata-editions.com
+44 7738098931

http://daata-editions.com

Digital de Suite. An Afternoon Discussion on Art, Droite de Suite & Blockchain Technologies. May 4.

In ACE Hotel, Blockchain, Daata, Daata Editions, daataeditions, Digital de Suite, Droite de Suite, Even Magazine, Frieze, Frieze Art Fair, Hayden Dunham, New York, NYC, Tech:NYC, Uncategorized on 12/04/2018 at 4:47 pm
NYC_DigitalDeSuite_April4
Digital de Suite. 
An Afternoon Discussion on Art, Droite de Suite & Blockchain Technologies.

Friday May 4, 2018 3-6pm

Ace Hotel New York, 20 West 29th Street, New York, NY 10001
 
Hosted by Daata Editions, Even Magazine, Monograph, Tech:NYC, ACE Hotels.
 
Speakers include: Hayden Dunham, Artist; Joao Enxuto & Erica Love, Tracking; Jess Houlgrave, Codex; Nora Khan, Rhizome; Hugo Liu, Artsy; Kevin McCoy, Monegraph; Sarah Meyohas, Artist; James Tarmy, Bloomberg; Brad Troemel, Artist; Amy Whitaker, New York University; Noah Wunsch, Sotheby’s; Artie Vierkant, Artist.
 

Over the last six months, the blockchain has dominated conversations about technology and its relationship to markets from currencies to CryptoKitties. For the arts, whose markets are as opaque and unregulated as possible, blockchain technologies have the potential to fully upend traditional models. From production and its interests in authenticity and serialization, to market concerns including provenance and droit de suite, assumptions as basic as when artists should be paid for their work are now subject to re-evaluation.

Artists, entrepreneurs, and established players in the art market and tech communities will participate in panel discussions and solo presentations in an afternoon appropriately scheduled between the opening of Frieze Art Fair and New York’s Creative Tech Week.

The afternoon will conclude with a presentation of new work by Hayden Dunham that address the information systems inherent to blockchain technology. Commissioned in part by David Gryn of Daata Editions, with support from Tech:NYC. The work will be registered on Monegraph and available for purchase (and subsequent tracking) during Frieze London.

@evenmagazine @acehotel @monegraph @daataeditions @technyc #digitaldesuite

SIGN UP HERE
https://splashthat.com/sites/view/digitaldesuite.splashthat.com

The Future of the Art Market for a New Generation – A Daata Editions & Kingston School of Art – talk series at citizenM Tower of London, April – June 2018

In arebyte, Arttactic, AucArt, citizenM, Daata, Daata Editions, daataeditions, David Gryn, DKUK, Kingston School of Art, Screen Shot, Stephanie Diekvoss, Tower of London, Uncategorized on 10/04/2018 at 5:50 pm

https_cdn.evbuc.comimages433548441788522922031original

Daata Editions & Kingston School of Art X citizenM Tower of London

Presents a series of talks on the art market

The Future of the Art Market for a New Generation

This series of talks and discussions focuses on changes in the art market. As an open platform for debate and dissent in an ever changing context, we will explore new roles for a new generation of practitioners and creatives who question the status quo in the artworld and its relevance for their future.

Speakers include: Natasha Arselan, AucArt; Anders Petterson, Arttactic; Daniel Kelly, DKUK; Beth Greenacre, Curator and Consultant; Shira Jeczmien, Screen Shot magazine; Nimrod Vardi, arebyte, along with hosts Stephanie Dieckvoss, Senior Lecturer and Course Director MA Art Market & Appraisal Kingston School of Art and David Gryn Director of Daata Editions.

There will be drinks and networking opportunities surrounding the series of brief conversations. Sign up for the talks via the Eventbrite links

17th April 6.30-8pm

Can there be transparency in the market?

Transparency in the art market is one of the most widely discussed topics at present. Between best practice, regulation and standards, the art world has struggled for decades to deal with the opacity of a market.

A conversation between Natasha Arselan, AucArt and Anders Petterson, Arttactic

https://www.eventbrite.com/e/art-talk-with-natasha-arselan-and-anders-petterson-tickets-44913682032

15th May 6.30-8pm

Is it time for a new gallery model?

While blue-chip galleries open in London in ever more elaborate settings, galleries for emerging art are closing, intensifying the need for a discussion about the validity of the brick and mortar gallery model.

A conversation between Daniel Kelly, DKUK and Beth Greenacre, Curator and Consultant

https://www.eventbrite.com/e/art-talk-with-daniel-kelly-beth-greenacre-tickets-45024692066

19th June 6.30-8pm

Technology and the arts – where do we go?

Everyone goes digital. Phillips auctions new slogan is “Digital First”. But what does that mean? Do digital natives even consider the digital and technology as a driver for the art market? Where do they see technological innovation going? 

A conversation between Shira Jeczmien, Screen Shot magazine and Nimrod Vardi, arebyte

https://www.eventbrite.com/e/art-talk-with-shira-jeczmen-nimrod-vardi-tickets-45025028071

Organised by Stephanie Dieckvoss, Senior Lecturer and Course Director MA Art Market & Appraisal, Kingston School of Art and David Gryn, Director of Daata Editions and hosted by citizenM Tower of London.

David Gryn

Director, Daata Editions

david@daata-editions.com

+447711127848

http://www.daata-editions.com

Stephanie Dieckvoss

MA, MBA, PGCert, FHEA

Senior Lecturer

Course Director MA Art Market & Appraisal

Kingston School of Art

Grange Road,

Kingston upon Thames,

KT1 2QJ

http://kingston.ac.uk/ksa

David Gryn interview with Mamiko Motto for Midnight Chardonnay via Gass Records

In Daata Editions, David Gryn, Gass Records, Mamiko Motto, Midnight Chardonnay, Uncategorized on 22/03/2018 at 9:14 pm
Jacolby Satterwhite 2

Jacolby Satterwhite

We are very excited to bring Daata Editions to Belgium and introduce this exciting digital art platform at the first Midnight Chardonnay Edition in Antwerp with an exclusive Krispy Kremes playlist compiled by Daata founding director – David Gryn. Ahead of our launch, we talk to David about Daata movement and its role in the digital art environment.

https://gassrecords.com/news/2018/3/21/daata-editions

http://midnightchardonnay.org/

GASS: For those who still don’t know, what is Daata Editions?

David Gryn: Daata Editions is an online commissioning platform of artists working with digital media, video, sound, poetry and web. We have currently over seventy artists and more than three hundred artworks available.

GASS: How, and maybe, why did you come up with this concept?

David Gryn: Daata came about due to the lack of outcomes and support for artists working with current digital, yet non-traditional art mediums. Artists get paid and receive royalty on sales, two somewhat unusual and rare things in the art world. The idea is that Daata is ‘a’ model and not ‘the’ model, and is my hope that the proliferation of similar companies grows and we have the beginning soon of a stronger competitive online market and process.

GASS: I find it really amazing and very interesting that through your platform you are encouraging people to buy these works while they can just get online and rip it off. I respect that a lot.

David Gryn: The logic here is simple, be generous. If we only allowed people to see an extract, it would mean most of our users and audience would not see the full intended work. We have many more viewers who just look than those who buy and collect. I have yet to be faced by any acts of ripping off/stealing artworks from online in my last twenty years of working across the artworld. In some ways when that happens – I will know I have a truly great success.

GASS: You are working with the artists focusing on film, digital art and sound. How do you find them?

David Gryn: There is a great eco-system in the artworld, where when artists are really good – the whispers and conversations about them start to emerge and circulate from other artists, galleries, art fairs, critics, art magazines, collectors and social media. It is then all about chemistries, trust, commitment as to how we then work together.

GASS: There is a whole bunch of really serious people on your roster but you also seem to be very supportive of the new artists and new projects. How can a young artist get commisioned by Daata?

David Gryn: We have a finite budget – so we are not endlessly commissioning – but when we become aware of someone who feels right for the platform and we think we can mutually work together – it starts to take shape – and usually fairly easily and smoothly.

GASS: As a curator, what does turn you on?

David Gryn: I don’t really see myself as a curator, more of a facilitator, deliverer, go-between. I am impassioned by artist and others who are true and generous collaborators. It is usually the quality of that relationship that motivates me, as generally, I do not know what artwork I will receive – as they are always new works – so the start point is the artist and the belief that they are great and will deliver something magnificent.

GASS: Can you talk about Krispy Kremes playlist.  What’s in the pot?

David Gryn: Krispy Kremes is a Daata Editions playlist compiled especially for Midnight Chardonnay, it features artists from the website including: Helen Benigson, Jacky Connolly, Jeremy Couillard, Keren Cytter, Sue de Beer, Elliot Dodd, FlucT, Ed Fornieles, Rashaad Newsome, Hannah Perry, Hannah Quinlan & Rosie Hastings, Scott Reeder, Jacolby Satterwhite, Katie Torn, Amalia Ulman, Zadie Xa, Lu Yang.

I selected works that I thought would sit well with each other and make an exciting and captivating time for audiences whether they see the whole thing or just excerpts.

GASS: What’s next for Daata in 2018?

David Gryn: Daata Editions is doing a project called Queertopia curated by Gemma Rolls-Bentley at a new art fair in San Francisco called If So, What? Along with some VR projects and a collaboration with Label Dalbin’s table.video. We also have an ongoing video program working with Vanity Projects in NY and Miami. In September, we are programming Video and Sound at Art Rio art fair and EXPO Sound at EXPO CHICAGO and many other exciting projects, commissions, talks throughout the year.

GASS: Whats your opinion on the future of the digital art and maybe the future of the internet from the art perspective?

David Gryn: I would have thought by now we would have reached the point where the art world would have fully embraced digital culture, mediums and process. However, there is strong a resistance and nervousness to it from the art market, which is familiar with selling objects. Once that changes – the economic reality for artists working with digital mediums will change.

I see digital as a means to an end and that the future will see lots of change and variable outcomes. The reality to me is that it is artists that need our support – as it is they that use the technology and the various art mediums and that the digital should never be regarded as more precious than the human who encounters it.

GASS: And what about real-life art projects, projects OFFLINE, if you wish. Do you think projects and festivals such as Midnight Chardonnay are important at this day of age?

David Gryn: We all want to engage with other people – and the internet and digital cultures have both – disturbed that and encouraged it. The desire to socialise and be stimulated and entertained is as vital as ever and projects like Midnight Chardonnay – help to create a really healthy landscape for audiences looking for cultural engagement and social encounters.

GASS: What do you think the modern world art scene is lacking off right now?

David Gryn: We could all be better at genuine collaboration, support and empowerment of all participants in the artworld. Like so much of our world – the artworld is driven by self-serving avarice, commercial greed and profit, which is always subject to corruption and we need to turn it into a place of community, mutual empowerment and always strive to make the best outcomes for all.

GASS: What do you think it takes to be a badass Artist?

David Gryn: Being – a great collaborator, generous, self-confident, self-motivated, having a strong vision, having great aesthetics, a deliverer, non-confrontational, having marketing awareness, good communication skills and understanding the artworld and all its greatness and foibles.

GASS: Haters gonna hate?

David Gryn: With the rise of simple communication technologies – there is a lazy approach to human interaction – and one of those – is the belief that people can hide behind their screens and send vile, hate-filled comments and spelled-out thoughts – that maybe a few generations ago – may have been just stupid, unconsidered and unrealised ideas in their minds (eg the letter/email you should never send). There are however mostly good people out there and they are the ones who are not trying to create barriers, conflict and tell others what to think and who to hate, and they should all be celebrated as these silent voices are the majority.

https://gassrecords.com/news/2018/3/21/daata-editions

http://midnightchardonnay.org/

https://daata-editions.com/

 

Innovating the Future of Film in the Art World – David Gryn interview with Amy Tam – I AM FILM

In Amy Tam, Art Film, Daata, Daata Editions, daataeditions, David Gryn, Film, I AM FILM, Uncategorized, Video on 15/03/2018 at 10:03 pm
03_Krispy Kreme

Elliot Dodd, The Doctor, 2018

David Gryn is the founding director of Daata Editions, which aims to empower artists working with digital mediums, including video, sound and web via commissioning moving image and sound artworks by leading international artists. He has been the curator of the Film and Sound program at Art Basel in Miami Beach—the largest art fair in the world—for the last seven years.

For the 2018 edition of Independent New York, Sound and Video exhibiting in New York from the 8th-11th March, Gryn was selected to curate a series of artist-created video and sound experiences. The collaboration between Independent and Spring Place featured works by a range of international artists exploring digital mediums, including; Larry Achiampong, Lynda Benglis, BREYER P-ORRIDGE, Keren Cytter, Ed Fornieles, Leo Gabin, David Lynch, Laurel Nakadate, Puppies Puppies, Torbjørn Rødland, and Saya Woolfalk.

I AM FILM Founder and CEO, Amy Tam, interviewed David to discuss Daata Editions and its unique business model, that is successfully supporting and commissioning video artists within the art world.

David, how would you describe Daata Editions (Daata)?

DG: It’s an online marketplace for moving image and sound artworks. My goal is to grow the audience and awareness for this medium, while allowing prospective buyers to access the artworks at any time, from anywhere. Daata has more than 70 artists, with over 300 artworks commissioned for the platform, and all works are released entirely online. The platform works with both leading and emerging artist talents, prominent curators, writers, collectors, art fairs, art magazines, and various art world collaborators including; Amalia Ulman, Takeshi Murata, Tracey Emin, Chloe Wise, Jon Rafman, Rashaad Newsome and many more.

 

Why did you choose to create this type of platform?

DG: Although it’s changing, the art market still tends to prefer object-based artworks. There’s a sense of resistance in galleries, auction houses, and art fairs; to normalise the type of works Daata commissions, because it’s unclear how to make them as commercial as more traditional mediums. People recognise that the industry is moving in this direction and they talk about it, but they won’t engage with it in its current position.

I’m trying to treat it as normally as a painting or sculpture now, instead of waiting for the “right moment.” It’s easy to show digital artworks online, so I started Daata as an answer to that problem. It was about how to encourage all the players—the institutions, the curators, the collectors, the audiences—to treat it more seriously. To me, the solution was the possibility of pushing forward one version of a marketplace, like you might open up a gallery, but online. It is a new way of distributing and showing artists’ moving image, sound, and web-based work. I didn’t realise I was ahead of the curve until I set it up.

How would you explain the way the Daata business model works?

DG: We pay the artists up front and then we distribute the artworks at a price, and we sell the work and give the artist a royalty. It’s inherently structured as a self-sustaining economy. Currently, it’s still philanthropic in its process, and we pay all the artists. If we haven’t paid an artist, we have an equal royalty share.

The business model is effectively saying there’s a value to this work. I’ve realised, to my chagrin, that almost everyone who treats art seriously generally does so when there’s a price point. Art that is for free is very difficult to quantify for almost everybody—other than the artist. I really do value art that isn’t necessarily commercial. But with Daata, I am trying to put forward a case that you can actually “have your cake and eat it, too.” You can have this work viewed and seen for free, and you can also collect it, buy it, and have the HD version for you to play whenever and on whatever device.

Works start at 100-200 dollars, and they go up incrementally until the maximum price of around 6000 dollars, in the video section. This method encourages early purchase, and the longer a work is for sale, the more it grows in value. We’re not trying to set up an auction model, a resale model, or a celebrity artist model. No matter how prominent the artist, the value starts out pretty flat across all parts of the site.

“I can’t base our website on the most famous, most money-making artist, because then it will start becoming a website dominated by the market forces. I wanted to make it a website dominated by the artwork and the artist.”

If you get in early, you can buy major artists and future major artists at a low price, which is exciting. With Daata, we’ve established A model, not THE model. It’s just one way of doing it.

Do you think artists or gallerists (decision-makers) have more power in the sale of art today?

DG: The power of the art fair is dominant. It’s very tilted towards the market position of what pays and drives an art fair’s business model. Galleries are trying to take things into their own hands to change it, but it’s hard. The problem with the relationship with the auction house and the art fair is; it tilts it to top dollar profit, whereas, if you’re supporting all sorts of artists in your gallery business model, you’re interested in the artist and the outcomes—it’s not always about how much money each artist makes.

It’s about how you put that work into a museum and how you grow that artist’s career. That’s often the gallery’s investment—time and costs, and that’s shattered by the art fair model, with many art fairs happening almost every month. Some galleries don’t operate with a great brain anymore, because they have to keep reacting to the next art fairs. The art world needs to alter and turn on its axis better.

Do you think the resistance in the marketplace comes from insufficient demand for these types of works or from the entities controlling what’s available—like art fairs and galleries?

DG: I think it has to be treated as a central cornerstone of an art fair, not as a hidden away sideshow. In my role as Curator of Film & Sound at Art Basel in Miami Beach, I work very closely with Art Basel to try and make showing artists moving image and sound, very large and dynamic—luckily, they understand the need to empower the medium.

How does Daata fit into this context?

DG: I think there needs to be many outlets like Daata who can put their resources into supporting artists who make work, and distribute it. I keep coming across entities who want to take over the world, and I just want to take over the project I’m doing and make it the best I possibly can, within finite boundaries and borders. I don’t see what I’m doing with Daata as better or hierarchical, I just see it as being part of an art world jigsaw puzzle.

What has the demand been like in terms of sales of works?

DG: It’s great, it just needs to be more. It’s currently more sales than I’ve ever made in my part of the art world before. But to actually get to a point where there is more revenue to pay the next round of artists and not needing seed funding, it’s still got a couple of years to go. I saw the first two to three years as building and positioning within the art world. I have conversations with certain collectors repeatedly, some people are buying anonymously. There have been some people starting to buy the work more regularly that I don’t know, and they’re coming back.

How has the artist response been in terms of outcomes for the artists commissioned?

DG: The brief for making the artwork is very open and aims to enable the artist to take risk and be experimental. They have said we’ve made them feel more like they’ve been able to try out new things, and that’s been a nice challenge for some artists. They’ve said it’s informed much of their next body of work. Many of them have been shown in artist exhibitions, galleries, museums and art fairs.

As a curator, how do you get introduced to artists?

DG: We don’t have applications. We’re aware of artists in the art world, because I get to see lot of new artists and artworks from art fair prospects, art galleries, artists and so on, and I always look. I also don’t know everything, so it’s also a lot of word of mouth. In the ecosystem of artists, curators, and collectors—we trust each other’s opinions. Not all artists are the right ones for this kind of project. It isn’t a platform for a Hollywood filmmaker to dabble in making an artwork, unless they consider themselves an artist and they’re in the artist/art world ecosystem. It isn’t a platform for all.

However, there’s always room for the quirky collaboration. I have just started distributing a virtual reality project, that is working with several artists to make a composite VR artwork with several different artists in it. We’re willing to take that risk with certain people and projects —as I need to dip my toe into unchartered territories sometimes, just to keep things fresh and open to new potentials.

What would you say have been the main challenges since you started Daata?

DG: My greatest challenge is creating an understanding that this is a very normal medium, and trying to communicate that. I would say everything is a challenge, so it’s exciting. That’s why I set this up—to make a difference within a medium. I try to have a balanced program between artists who are both males and females and across backgrounds. I think about that deeply, so it’s not just a trigger reaction process of signing up the artist who put their hands up first; that’s an easier and lazy way of operating in the art world.

In terms of unexpected positive outcomes, what have you learned in the last three years?

DG: There’s lots of positive things. I don’t see my work just about how great the outcomes are for me. It’s about a project that has the best outcomes for as many people in the process as possible, and that’s always been my interest. That’s where I’m happiest. I guess it’s like I’m always looking under the stone to see what’s there, to make things better. When I work with organisations as dominant as Art Basel, I still always look to see what could make them or my project better for all parties involved. The true and integrity driven people in the art world that I work with, understand collaboration and mutual support for each other. They realise that we’re in the same game together to enhance a better world for art world artists, audience activity, and cultural pursuit.

What is working or not working about the way things work in the film industry, and how is that in contrast or comparison to Daata?

DG: I see the artwork made by an artist as an artwork and the film work made by a filmmaker is a film work. I don’t see a hybridity and a way the two work together. I still say there are many great filmmakers who are great artists—but their art is making film, whereas, the artist makes artwork. An artist will generally make an artwork without a financial position and a filmmaker will probably not make a film unless it’s got funding.

However brilliant they are as filmmakers, a film doesn’t get made because of the costs of the production, whereas an artist can often make an artwork without anyone else involved. If you’re going to make an artwork, you’ve got to make it exist to be an artist. You can’t then call yourself an artist if you haven’t got an artwork. It just doesn’t add up.

In terms of how I work with artists in Daata: I commission based on the reputation of the artist and knowledge of their past work.

“I go into the process trusting the artist to deliver the artwork as they wish. I don’t need drawing boards and proposals, as I believe in the potential of the artist to make the best decisions for their work and aim for outcome that they demand of and for their work.”
I think there are so many filmmakers who are brilliant, and to cast doubt upon them for being an artist is wrong. Usually, I’d say they’re just a great filmmaker. There are just a few that go beyond just being a great filmmaker and I believe they are genuine artists. People like Andrei Tarkovsky, David Lynch, John Waters, and Sophia Coppola. Then, there are people who successfully cross mediums like Wim Wenders and Jim Jarmusch. Sometimes, the artist becomes the Hollywood filmmaker and can lose the strength of their moving image works as an artist. I think it’s hard once you have those budgets and the media spotlight to be the same brilliant artist. The value in an artist who works alone is often in the raw edges, the roughness and the idea generation. Once that dries out and is dominated by the sheen of wealth, it can lose the interest of the greater art world.

For further information on Daata Editions visit: http://daata-editions.com. You can follow Daata Editions on Instagram and Facebook (@daataeditions).

Follow I AM FILM on Instagram (iamfilmofficial). #IAMFILM and Join their list to receive news and views by the Masters of Film. 

https://www.iam.film/press/2018/1/7/david-gryn-interview