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Archive for the ‘Video’ Category

Sue de Beer on Daata Editions

In Art Basel, Barcelona, Daata, Daata Editions, daataeditions, David Gryn, Film, LOOP, Marianne Boesky, Sue de Beer, Uncategorized, Video on 22/05/2017 at 4:01 pm

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Daata Editions has just announced the release of four new artworks by Sue de Beer specially commissioned for the platform.

This poem is me and it’s nothing but words about you I hope you like it (1 & 2)
Make up / sound test for a were-wolf film
(1 & 2)

Sue is a recent recipient of a Guggenheim Fellowship and is represented by Marianne Boesky Gallery, New York. Sue de Beer’s artwork release on Daata coincides with the LOOP Fair, Barcelona and Art Basel in June.

Khary Simon, a creative director and publisher based in New York, interviewed Sue de Beer on her 4 films for Daata Editions.

Are the films intended to be presented in a specific order?

No. They are separate but connected. I do watch them in the order of 1, 2, 3, 4. I cut them in the order of 1, 2, 3, 4. The first two naturally connect, and the last two naturally connect. So do 1 and 4. So do 2 and 3.

Is beauty fragile and or dangerous?

Yes. Fragile.

What about terror can be erotic or beautiful?

Everything.

Do you cherish objects of girlhood or wish we did?

Yes.

What is the origin of titles 1 and 2?

This poem is me
and it’s nothing but
words about you
I hope you like it

It’s from a Dennis Cooper poem – one that he contributed to my first catalogue. I think it’s beautiful. Shifts around the watcher and the watched.

Sue de Beer’s work is located at the intersection between film and installation, sculpture and photography. Solo exhibitions include the Kunst Werke, Berlin, the Whitney Museum of American Art at Altria, the MuHKA Museum in Antwerp, Los Angeles Contemporary Exhibitions in Los Angeles, The Park Avenue Armory, New York, as well as at Marianne Boesky Gallery.

The artworks start from $200. http://daata-editions.com

TRAILER

Daata x Vanity present Saya Woolfalk

In Art, Art Fair, Artist, Daata, Daata Editions, daataeditions, David Gryn, Digital, digital art, Frieze, Frieze Art Fair, Leslie Tonkonow, Miami, New York, Rita Pinto, Saya Woolfalk, Uncategorized, Vanity Projects, Video on 30/04/2017 at 7:25 am

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Daata Editions x Vanity Projects – featuring Saya Woolfalk

Colour Mixing Machine

On view in both Vanity NYC and Miami venues April 15 – May 9

Vanity Projects, 99 Chrystie St 2F, New York, NY, 10002 +16464102928

www.vanityprojectsnyc.com/ & https://daata-editions.com/

Saya Woolfalk is a New York based artist who uses science fiction and fantasy to re-imagine the world in multiple dimensions. With the multi-year projects No Place, The Empathics and ChimaTEK, Woolfalk has created the world of the Empathics, a fictional race of women who are able to alter their genetic make-up and fuse with plants. With each body of work, Woolfalk continues to build the narrative of these women’s lives, and questions the utopian possibilities of cultural hybridity. The Pollen Catchers is a continuation of ChimaTEK, in which the Empathics employ color-mixing machines to further shape shift their morphology. Sound attribution to The Hathaway Family Plot. https://daata-editions.com/artists/saya-woolfalk

“2017 promises to be an exciting year for Vanity Projects, which is partnering with Daata Editions, the British-based online art platform equally dedicated to outside-the-box experimentation. This initiative will bring a wealth of talent to both the Miami and New York venues, starting with Scott Reeder, followed by Saya Woolfalk, Ed Fornieles, Yung Jake, Jacky Connolly, Jillian Mayer, Jeremy Couillard, Rashaad Newsome and others. “A Goth Life,” a group show opening in June, cheekily brings together video that honors “our joyously soulless, self-reflective, insular, tension and angst ridden times,” just in time for the sunny summer. Key activations with art institutions will expand the project’s reach, with plans for potential events during Art Basel Miami Beach.” Text by Scott Indrisek

Vanity Projects in collaboration with Daata Editions welcomes Frieze, Vanity and Daata guests, Friday May 5, 10am-12pm for a screening of Saya Woolfalk’s work Color Mixing Machine 1-6, and complimentary nail polish manicures inspired by the artist & join Rita Pinto, David Gryn and Saya Woolfalk for drinks from 6-8pm. RSVP: contact@vanityprojectsnyc.com

Saya Woolfalk: ChimaCloud and the Pose System at Leslie Tonkonow. New works by the artist are on view through May 6th in Saya Woolfalk: ChimaCloud and the Pose System at Leslie Tonkonow Artworks + Projects, 535 West 22nd Street, New York, NY. www.tonkonow.com

Daata Editions on Artspace

In Artist, Artspace, Daata, Daata Editions, daataeditions, Digital, Online, Uncategorized, Video on 31/01/2017 at 12:25 pm

 

Daata Editions now available to purchase on Artspace

https://www.artspace.com/partn…

Artists selected:  Larry Achiampong, Casey Jane Ellison, Tracey Emin, Ed Fornieles, Leo Gabin, Scott Lyman, Takeshi Murata, Tameka Norris, Hannah Quinlan & Rosie Hastings, Jacolby Satterwhite, Saya Woolfalk, Zadie Xa.

Daata Editions commissions artists video, sound, poetry and web. Artworks on the website are available to view and acquire as digital downloads in a limited edition.

Daata Playlist:

Larry Achiampong, 1. The Beginning (19 Degrees), 2016

Casey Jane Ellison, Do You Seem Wonderful Casey Automated Private Test (DYSWCAPT) 1, 2016

Tracey Emin, You Must Have Hope, 2016

Ed Fornieles, Electric, 2016

Leo Gabin, Break Up, 2015

Scott Lyman, Pink Empire, 2016

Takeshi Murata, OM Making It Rain, 2015

Tameka Norris, immature tameka, 2016

Hannah Quinlan & Rosie Hastings, Pink Rooms, 2016

Jacolby Satterwhite, En Plein Air Abstraction #4, 2016

Saya Woolfalk, Colour Mixing Machine 6, 2016

Zadie Xa, Deep Space Mathematics // The Transfer of Knowledge 1, 2016

 

Image: Casey Jane Ellison, Do You Seem Wonderful Casey Automated Private Test (DYSWCAPT) 1, 2016

The Best Dressed Chicken in Town – Film and Sound at Art Basel in Miami Beach 2016 – curated by David Gryn

In Art Basel, Art Basel in Miami Beach, Art Fair, Daata Editions, David Gryn, Film, Miami, Miami Beach, Papermag, Uncategorized, Video on 01/11/2016 at 4:30 pm
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Jillian Mayer, I am your Grandma, 2011 (courtesy the artist and David Castill0 Gallery)

Best Dressed Chicken in Town curated by David Gryn, Director of Daata Editions

A compilation of artworks by Ana Mendieta, Anri Sala, Derrick Adams with Ramon Silvera, Samson Young, Kudzanai Chiurai, Edgardo Aragón, Luther Price, Catharina van Eetvelde, Ara Peterson, Matt Copson, Martin Creed, Jillian Mayer, György Kovásznai, Tromarama, Kim Gordon, Li Shurui & Li Daiguo, Adam Shecter, Brian Alfred, Dashiell Manley, Haroon Mirza, Zak Ové, Cabelo, Lena Daly, Nate Boyce, Tomislav Gotovac, Rodney Graham, Keren Cytter.

Screenings daily at 8pm on Weds Nov 30, Thurs Dec 1, Fri Dec 2, Sat Dec 3.

Film & Sound at Art Basel in Miami Beach 2016

Soundscape Park, New World Symphony Center, Miami Beach

artbasel.com/miami-beach/film

With a title borrowed from a classic 1970s reggae song by Jamaican dj/singer Doctor Alimantado, this year’s short film program focuses on a selection of international artists who engage with music in a multitude of ways. All the films in this varied and exciting program demonstrate the power of music to attract an audience, keep it engaged, elicit suspense and tug at the heartstrings. Similar to classical symphony works, the order of the films builds up a crescendo to create an awe-inspiring magic derived from the works in their entirety.

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Tromarama, Serigala Militia, 2006 (courtesy the artists and Edouard Malingue)

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Papermag Mega Guide to Art Basel Miami Beach 2016

More info from the Art Basel Press Release:

Film: Art Basel announces details of its 2016 Film program in Miami Beach.

From November 30 through December 4, 2016, Art Basel will present a premier program of over 50 film and video works by some of today’s most exciting artists from North and South America, Europe, Asia and Africa.

Selected from the show’s participating galleries by David Gryn, Director of Daata Editions and Artprojx, this year’s program will include ‘Muxima’, the first film by Chilean-born artist Alfredo Jaar, as well as a silent film about music by Christian Marclay and a new work by Liliana Porter.

The program will also include short films by Edgardo Aragón, Ain Bailey and Sonia Boyce, Cabelo, Kudzanai Chiurai, Martin Creed, Keren Cytter, Kim Gordon, Rodney Graham, György Kovásznai, Rashid Johnson, Li Daiguo, Li Shurui, Jillian Mayer, Ana Mendieta, Haroon Mirza, Ara Peterson, Alex Prager, Anri Sala, Wilhelm Sasnal, Tromarama and Samson Young among many others.

Screenings will take place both in SoundScape Park on the 7,000 square-foot outdoor projection wall of the New World Center, as well as on dedicated touchscreen monitors within the Film Library at Art Basel’s show in the Miami Beach Convention Center.

In addition, Marian Masone, New York based film consultant and strategist, has selected ‘Maurizio Cattelan: Be Right Back’ (2016) directed by Maura Axelrod, for a special screening at the Colony Theatre on Friday, December 2.

Returning for his sixth year, curator David Gryn presents several works that engage with music, including a set of 28 short films screened under the title ‘Best Dressed Chicken in Town’ after a classic 1970s reggae song by Jamaican singer Doctor Alimantado.

The lineup focuses on a selection of international artists who engage with music in a multitude of ways. A ‘Double Bill’ program will pair two film works that share similar themes or approaches to an intense musical score: Rita Ackermann (b. 1968) and Christian Marclay (b. 1955) on Wednesday, and Liliana Porter (b. 1941) and Alfredo Jaar (b. 1956) on Friday.

The late screening on Thursday, December 1 will feature works by sound artist and DJ Ain Bailey (b. 1963), with Sonia Boyce (b.1962), along with pieces by Anna Grenman (b. 1984), Rashid Johnson (b. 1977), Alex Prager (b. 1979) and Penny Siopis (b. 1953).

The final presentation on Saturday, December 3 will include three early films by Polish artist Wilhelm Sasnal (b. 1972), in which he added visual accompaniment to enhance the aural experience, along with a recent work, in which the score directly drives the narrative, replacing spoken words.

Every evening, directly preceding the Film program, surround sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer and Susannah Stark will be presented on the state-of-the-art surround system in SoundScape Park.

In conjunction with the outdoor film screenings, over 50 works have been selected to be shown exclusively within Art Basel’s designated Film Library at the Miami Beach Convention Center. Visitors will be able to individually screen over 50 works by artists such as Stephen Dean, Edith Dekyndt, Maggie Lee, Gabriel Lester, Shelly Nadashi, Sophie Nys, João Vasco Paiva, Betye Saar, Jason Simon, Su-Mei Tse and Tuo Wang. The Film Library is accessible inside the fair halls on touch-screen monitors during show hours. Access with a show entrance ticket.

On Sunday, December 4 at 2pm, Art Basel’s Salon program will feature ‘The Artist as Composer’, a talk between the artists Rachel Manson, Molly Palmer and Susannah Stark, and Kathryn Mikesell, Founder of The Fountainhead Residency and Studios in Miami. The talk will be moderated by William Simmons, author, Hyperallergic, New York, with an introduction by Film and Sound curator David Gryn.

Art Basel entry tickets include admission to Salon.

The Film sector’s Media Partner is Time Out. For the full gallery list for Film, please visit artbasel.com/miami-beach/film

Art Basel Facebook page

Time Out – Things to do at Art Basel in Miami Beach https://www.timeout.com/miami/things-to-do/art-basel-miami-2016-film

 

 

 

 

 

 

 

 

Keren Cytter on Reinventing the Rules of Filmmaking – Artspace interview by Loney Abrams

In Andrew Goldstein, Art Basel, Artspace, Daata Editions, Digital, Frieze, keren cytter, Loney Abrams, Uncategorized, Video on 13/10/2016 at 5:35 pm

 

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Image Still: Keren Cytter, Terrorist of Love, 2016 (a Free Downloadable Artwork – commissioned by Daata Editions and Artspace)

Keren Cytter on Reinventing the Rules of Filmmaking (or, How to Manipulate Your Audience) by Loney Abrams, Artspace.

It’s difficult to speak about Keren Cytter’s oeuvre holistically, only because she’s such a prolific artist that it’s almost impossible to view it all. The Israeli-born, New York-based filmmaker and writer has produced over 60 videos; published seven books that include novels, poetry, and screenplays; and is also the founder of dance company Dance International Europe Now (aka D.I.E. Now.)… and she’s hasn’t even turned 40.

Like Martin Heidegger’s famous hammer, which only reveals its true nature once it breaks or otherwise fails to function, Cytter’s films employ cliché to set up familiar reference points only to break them down—with poorly dubbed dialogue, fragmented or repetitious story-lines, and subtitles that address the viewer, for example­—and reveal the cinematic conventions that are normally invisible to us.

Cytter’s bag of tricks is chock-full of immediately identifiable tropes, from overly dramatized Hollywood mobster and thriller genre films, that have been delivered so adeptly by directors like Francis Ford Coppola, Alfred Hitchcock, and Quentin Tarantino. But Cytter’s use of these devices don’t quite fit—instead, they feel willfully clumsy and absurd. The 2014 video Rose Garden ends as a young boy is shot with a rifle after stealing a disco ball from the kind of timeless Midwestern dive bar you might expect to see in No Country for Old Men. The boy, refereed to by his bartending parents as both “Scott” and “Stock,” had shot his mother a few seconds before for no discernible reason, and the two murders (of which there are four total in the nine-minute-long film) seemed to bear no relation to one another.

Equally disorienting, the film Four Seasons (2009) starts with a shot of blood dripping onto white tile as a wounded man sits in a bathtub with snow falling around him. After the opening credit sequence, a woman enters the bathroom to ask the man to turn his music down, which she can hear from the apartment next door. The man yells twice, “Stella!” (presumably in reference to Marlon Brando‘s oft-parodied line from A Streetcar Named Desire) and the woman replies, “My name is Lucy, man,” before conversation unfolds casually as if nothing is out of the ordinary. Cytter uses clichés like cinematic readymades, using them to piece together disjointed, fragmented, often absurdist narratives. As a viewer, it sometimes feels as if, through her exaggerated use of cinematic conventions, Cytter is reminding us that we’re watching a film.

Humor, some theorists believe, is experienced when a person’s worldview is turned on its head for a split-second, and then revealed to be only temporary, a joke. Cytter’s films are funny—funny in a smart, dry way that challenges the viewer’s relationship to film. In Cytter’s Video Art Manual, the artist illustrates, quite literally, the filmic conventions and cinematic clichés that she subverts in her work.

The video begins with a young man in a suit sitting at a desk addressing the camera: “In this informal presentation I will try to unfold the great mysteries of new medias and reveal the utopian anxieties of the common man.” By then, we can already assume that this won’t be a straightforward educational film by the way the audio inexplicably changes volume mid-sentence, at times becoming unsynchronized with the actor’s lips. This scene segues into the next with a countdown that only goes from “five…” to “four…,” leading into a montage of news footage that introduces a second narrative, an impending cataclysmic solar flare event, that continues to weave in and out of the rest of the film.

Characters preparing for this imminent environmental catastrophe shift between inhabiting their roles as fictional characters and acting as actors who are playing their characters’ parts. We see one actor selling himself during a casting call, though his rehearsed speech makes it obvious that this too is an act. “You’ve got to take me, I’m multitalented. I speak three languages, sprechen sie Deutsch, y hablo Español,” the actor says before spouting off generic textbook Spanish phrases, while a superimposed subtitle reads, “The performers aren’t as concerned with their acting skills as they are representing familiar characters and situations. Subtitles help to distract the viewer from bad acting and visual mistakes.” Cytter’s films may follow some sort of narrative thrust, but the meat of the work’s content can be found on the bones—the form, the structure that is conventionally out of site but is foregrounded for Cytter. We as viewers are as aware of the off-screen editor, the director, the script writer (who are all, of course, Cytter), as we are the actors onscreen.

For an artist making self-reflexive medium-specific work, Cytter sure does work in a number of media. In 2008, Cytter expanded into the world of theater, founding her dance company, D.I.E. Now. Their first production, The True Story of John Webber and His Endless Struggle With the Table of Content was as much Samuel Beckett as it was “Disney on Ice.” Combining dance, video, music (composed by Cytter herself), and spoken text, the artist worked with non-professional performers—a trademark Cytter carried over from her video work. The production was performed at the Tate Modern’s Turbine Hall in London in 2009.

Cytter’s most recent work is yet another departure from her cinematic mainstays. Terrorist of Love, commissioned by Artspace and Daata Editions (and available as a free download here), is a music video, and uses imagery native to the Internet—two firsts for the artist.  Using a fixed 4K camera, Cytter shot the video in one take, before devising an unconventional video format in post-production solely using key framing, meme-like imagery, and an original soundtrack—an unprecedented approach to video-making in any genre. Here, Artspace’s Loney Abrams talks to the artist about making Terrorist of Love, her self-imposed rules of production, addictive Instagram habits, and the artist’s unfulfilled desire to make her audience feel sad.

Terrorist of Love seems to be the first video you’ve made that is soundtrack driven. How did the idea come about?

I hadn’t made anything like this before. I was in Israel and I was visiting my friend who is a musician, and I asked him for songs. He had this one and I decided to work on it. Then I said, “Okay, we can replace him with performers.” So that’s what we did!

Would you consider it a music video?

I’d say it’s a music video, yeah. [Laughs.] I made up a structure to follow: I will use a very good camera and will shoot two performers on a roof, lip-syncing and casually dancing to the song, and after that, I will zoom into the frame and let the camera move to the shift of the music, on different details of the shot.

What are the lyrics?

Terrorist of Love / Turkish Delight / Search me / Search me. I think it’s a love song, using political words. I made up the choreography.

Have you used meme-type imagery before or is this new too?

On my Instagram yes, but no, never in a video. It doesn’t ever fit with a plot so I could never do it.

Can you talk about your Instagram?

I’m obsessed. I was in rehab for three weeks!

You’re addicted to Instagram?

Yeah, my friend told me I should stop. I should stop. I think I’m really neurotic so that’s why I’m doing it. Instead of biting my nails I’m posting on Instagram. I got addicted, and I’m trying to post less—that’s why I’m erasing posts all the time. Also, I decide to always have less than 1,000.

1,000 posts? 

Images in in general, yeah. Because, to me, it looks vulgar if I have a lot. I also don’t follow people who post too much. That’s why I don’t like myself so much for doing it. I’m much less exclusive when I post a lot.

Sometimes an artist’s work becomes devalued when the artist overproduces. The demand can’t keep up with supply. You talk about your Instagram as if it’s going to lose value if you over-post!

No, it’s not that—I just don’t like people that post a lot. It means they have no life, and as you can see, I have tons of life. [Laughter.] No, I don’t know, I just post images all the time because whenever I have an empty moment I start to correct images and post instead of reading or doing something constructive. Like I told Fabian [an actor in Cytter’s upcoming theater performance], “Let’s go outside and bring the book,” so we brought the book and then I just sat outside posting images.

I’ve been following your Instagram for a while, and I’ve notice you use a lot of hashtags, which become poetic in a sense because they really aren’t useful as hashtags. It seems like sometimes the images on Instagram are secondary to your comments and hashtags.

It’s a lack of confidence sometimes. I think that my images are not good enough so I try to pump them up with the right hashtags. I want to express myself but I think sometimes images are not expressing myself. And sometimes I just don’t have good images! With all the life I have, I don’t have juicy, juicy images! [Laughs.]

In your films, what is more important, the images or the language?

I think the images, generally. The images are not connected very well, so I need lots of language to pull them together. Actually, there is one thing that’s funny with Terrorist of Love. Even if I use a good-quality camera it always comes out really bad, and for this video I used a 4K. So it’s a 4K image, but because you get into the frame, the quality comes out worse than any normal camera. So I said, “Oh, I’m keeping my line of bad images!”

In the first 10 seconds of the video, I thought you were zooming in and out on a still photograph—but then I began to realize that parts of the image were animated, and it was actually a video.

Yeah, well the camera didn’t move the whole time. That was my initial plan: to do everything like voyeurism in the frame.

Yeah, it’s amazing how dynamic you were able to make it without moving the camera. There’s so much going on in the video even though there was really very little activity on set.

Yeah I think people will really enjoy watching it… I think. I like it a lot. It’s going to be cute. It’s like, all Disney.

The scenery is so New York. It’s shot on a rooftop covered in graffiti, overlooking the Manhattan skyline. This kind of scenery is kind of cliché for a certain type of music video—but Terrorist of Love is so not the type of video you’d imagine in this setting.

[Laughs.] Yeah. At first I imagined filming it with the musician who wrote the song at his place in Israel. When we used to work together we got along very well, but when I left Israel 13 years ago, we became a bit like my characters and started drifting apart. I realized I’d be happier to do it not with him, but just to give him the video in the end. So that’s why I imposed everything I planned to do in Israel just on New York. To get into the frame with the sound of the music as the goal.

Your films are really transparent about the medium. So, sure, they’re about some characters, and there’s a storyline, but they’re also about people who are acting in front of a camera, and people who are reading scripts, and people who are making a film—in a way that makes the viewer very aware that they are watching a video. And in more recent years, you’ve also started doing live performances and theater. So I’m wondering how you carry the meta-narrative onto the stage?

Actually it’s quite easy. Now I’m doing a script for a theater we’re going to do. Suzy starts saying, “You might know me from other performances as in—just kidding, I never get the roll.” So you just need to say it and it’s there. It’s just a matter of marking it. You always know that it’s an act. I didn’t invent it, you know so, it’s quite easy— you just play all the time between those worlds.

Audiences obviously have very different expectations when they’re watching film or they’re watching theater. I imagine with film you’re able, through editing, to better direct how your audiences experience the film. You probably can’t do this as easily with theater. Is your audience on your mind when you’re making your work?

I see myself as my audience. When I see a theater play, I’m judging it. So the first thing I had to do when I wrote the text for Suzy is pull one over on the audience, to shock them so that after they stop judging and get into the plot. I like to have a plot but also I like the audience not to forget that they’re watching a play, or watching a film. I hate to waste my time watching other people’s stories. I like when things are not clear to me. I also like that I can feel things—I like to get sad. But I’m not so good at making sad things, I’m better at humor. People are more attached to things if they are feeling sad, so I try to make sad things now, but it’s really embarrassing me.

So your motivation to make sad stories comes not from necessarily having sad stories to tell but wanting people to feel sad?

Yes, exactly. It’d be great if they can’t understand what the story was but they say, “It was so sad.” That would be great because it means I really manipulated them.

In Video Art Manual, the format you’ve set up is similar to a how-to video and then woven into that is this kind of absurdist narrative about an impending apocalyptic solar flare event.

Ah yes.

And then on top of that you’re also bringing the viewer into it by commenting on their experience, and so I’m wondering how you differentiate, or if you differentiate, between narrative and content?

Well for me the content is actually the structure of things, not the narrative itself. The narrative is just an excuse for the audience to keep on following. With the solar flame, I was a bit consumed by it. I read it and I was really worried for my job because they said there will be an electricity power cut, and I said “How can I make videos?” and I said “Oh, I can make drawings.”

I mentioned several times in the video the solar flame and the consequences because that will make the audience keep on watching it, and, for me, that narrative is more interesting than the history of video art. So for me the structures and the frames are much more interesting than the narrative, and the narrative is just for the audience. And it’s also a way for the images to come together so I can smash different things and it will make sense for you because there is some kind of narrative—my excuse for it.

So making a narrative is just an excuse—

To create structures, yeah.

So the narrative gives you an excuse to make a formal film. You also use many different languages in your films and I wonder if that’s an excuse to use subtitles and text as another play on form?

Yeah. Right. Also, you see an Italian movie and it’s not acted well or you don’t get the language so you just say, “Oh, it’s the Italian”—that’s what I think, “Oh, it’s the Italian, Italians are like that.” But when I was in Italy I made a movie there and I asked one of the girls to act like Anna Magnani and she knew exactly what I meant and I realized she was acting a certain way—it’s not like the way Italians act normally, so I was right.

What’s your writing process like? Would you walk us through how you get from point A to B?

It’s depressing actually, I just don’t leave the house. That’s why I’m posting a lot. I have no life so because I need to write all the time. I need to find an idea and until I have an idea I cannot write. It’s better not to write until I have the idea, and then when I start writing I write halfway through and I think it’s fine, and then I realize I cannot continue because the idea is not finished, it doesn’t have enough rules. I need to have more rules and more framing.

What do you mean by rules?

For example I made a Russian movie in Russia with naked people—lots of penises. It’s a very classic movie—the camera doesn’t move. I needed some rules… nine shots with no zoom in and no panning; three acts with three shots in each act. I was in Russia and I was googling “crazy Russians” and I found a crazy image of Russians taping up their apartment with plastic and then flooding it like a swimming pool. My backyard is really fitting for that, actually. That was in my head, that I wanted to turn my backyard into a swimming pool. So I decided to make a movie because of this image.

Because it was with Russians I could do it hardcore, and there were lots of penises and porn and stuff like that. I thought also, because it’s Russians, it’s a bit political because of the power shift I think now in the world. So there were three guys and one girl because I’m concerned about women’s rights, and then it begins actually representing minorities in general. At the end of each act, one of them dies, but keeps on living in the next act. So that was part of the rules.

Another rule was that it needed to be in Russian, and the camera doesn’t move so they need some time to lower themselves to fit into the frame. Maybe there were more things that I forgot. But I need lots of rules just in order to write.

I’m thinking about this device you’re using in Terrorist of Love where you don’t move the camera. The video is static with no cuts. It seems super contemporary, actually, in that a lot of video we’re seeing are coming directly from people’s iPhones. For example, on Facebook Live or Periscope, it’s live-streamed and you can’t make edits. We’re probably getting used to seeing more of these really long takes.

Ah, yeah, that’s cool. Actually in cinema, that’s what counts as a good thing—if the take is long. And subconsciously I think it somehow stays with you. At least it does with me in The Passenger with Jack Nicholson. The last shot is 360 degrees uncut. I like it.

Do you have anything coming up that you’re excited about?

Excited? [Laughs.]

[Laughs.] Do you have anything coming up that you are excited about or not excited about?

My book [A-Z Life Coaching] will come out in two weeks. The book’s cover designer is the designer of the poster from The Lobster, the movie. I met him once and I found his email and he agreed to do it, so it’s really cool. I like it; he invented it.

Also there will be this theater thing we are going to do. We’re going to shoot one part with Colby Keller, who’s a gay porn star, and we are going to show it in the Stedelijk Museum in Amsterdam in November. I don’t know if I’m excited about this, or I’m afraid. Woah, yeah, I’m not excited yet.

Get your Keren Cytter Free Download Here

https://daata-editions.com/art/video/terrorist-of-love

5 Questions with Daata Editions – Elephant Magazine

In Art Basel, Charles Richardson, Chloe Wise, Daata Editions, daataeditions, David Blandy, David Gryn, Elephant, Uncategorized, Video on 21/11/2015 at 10:59 am

5 Questions with Daata Editions

http://www.elephantmag.com/5-questions-with-daata-editions/

Text by Emily Steer

Daata Editions is an online platform that commissions digital artists’ editions—mostly video-, sound- and web-based. Season One brought together eighteen artists, who each created six pieces of work, last month joining two different collections in completion; Germany’s Julia Stoschek Collection and LA’s Hammer Museum.

Season One featured the work of; 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.

Here, five of the artists discuss the purpose of digital platforms in the present art world and the future of art online.

When did you start work with Daata Editions, and what do you feel online platforms can offer to digital artists?

Chloe Wise: I began working with Daata Editions for their first iteration–or season of artists I suppose–about a year ago now. For an emerging artist, especially for an artist working with digital media, it can be hard to find viewership, a consumer market, a collector base, the funds with which to produce work, and a comprehensive placement within the art world for oneself. Working with Daata Editions not only enabled the artists, including myself, to create work that otherwise may not have been made, but to circulate this work in the context of art fairs, screenings both indoors and outdoors, in a gallery setting as well as online and placing the works into great collections and institutions. This visibility and accessibility is imperative to digital work, which is in a state of growth and change, and is so easily dismissed in the constant flow of images and videos on the internet.

As a digital artist, do you consider the fit of your work on the market, or is this a secondary concern? 

Florian Meisenberg: When creating either a digital or analogue art work, I don’t start by thinking about it fitting into the market. Generally, my motivation to create art is not dependent on its degree of ‘fitability’ with anything. Although sometimes I feel embarrassed that I can’t sign my videos.

Have you felt the reception towards digital work change in any way since you began your practice?  

David Blandy: When I started exhibiting, the digital world of computing, gaming and the Internet were marginal cultural interests, the preserve of geeks like me. The Internet was dial up, computer games were making their first experiments in 3D graphics, and VHS was the standard exhibition format for video. So my work thinking about and using digital culture, using backgrounds from video games and performances inside virtual spaces, were seen as pretty alien from mainstream culture and were probably pretty mystifying to an artworld that was largely computer illiterate. Now the digital is central to our everyday visual culture–CGI on tv, adverts, films, every photo is computer manipulated, only occasional heads unbowed at train stations, contemplating the sky rather than their phone.

Do you feel that your work exists in accordance with the technology it was created for? Or is the material something that could be transferred to different tech over the years?

Matt Copson: My work exists in accordance but is not enslaved by current technology. I’m sure things would change radically with any contextual shifts, be they technological, political or financial but hopefully my work isn’t just a symptom of its time. Most of the more digital aspects of my work and installations are basic or quite a primitive use of more complex programs. I don’t care for professionalising my skills, rather I enjoy being an enthusiastic amateur with a level of distance from the technology I’m using. I like the idea of using photoshop in the same way I’d carve a sculpture with a chainsaw and sledgehammer. I see no reason why works couldn’t be transferred to different technology over the years. But my principal concern, of course, is in how they are shown/heard in the present.

What do you see being the biggest driver of digital art in the future?

Helen Benigson: I am sure the continuous and accelerating trend of the public giving up personal data to big companies will lead to some very interesting work being made. However, I also feel that as the body becomes even more exploited through medical and visceral mediation online, artists will necessarily need to drive a new concept of what intimacy, privacy and the corporeal looks like. I don’t think there has ever been more of a crucial time to bring art and technology together, than the current climate we are living in. There is increasingly a general blurring of boundaries and a development of terms such as the ‘creative’ or ‘cultural producer’, via the recruitment of artists into the technology industry which has a more general emphasis on the idea of creativity at work across many different industry sectors. Many of the concepts that have shaped the working culture in the tech industry (such as ‘play’, live-work, loft spaces and temporary contracts) are derived from artists’ working habits, like Second Home and its relationship to the Serpentine Pavilion. It is essential to understand these messy overlaps in order to try to decipher how and where art will move to as artists move away from big cities and increasingly have to work more online in order to survive.

All works: 2015, Courtesy Daata Editions

Loreta Lamargese text on Daata Editions

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

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

Loreta Lamargese on Daata Editions

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

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

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

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

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

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

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

Daata Editions http://daata-editions.com

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

Collecting on the Cloud, a digital exchange with David Gryn of Daata by Sylvia Wu, SCREEN

In Art, Art Basel, Daata Editions, Digital, Frieze, SCREEN, Sound, Video, Web, Zabludowicz on 10/10/2015 at 7:55 pm

photo: David Gryn by Jane Bustin

Sylvia Wu’s conversation with David Gryn, director of Daata Editions, On New Models of Selling Digital Art, is now live on SCREEN, a New York-based bilingual platform aiming to redefine media art.

http://www.onscreentoday.com/conversation/art-collecting-in-the-air

With the fall coming up, the relatively quiet holiday season will burst into a kaleidoscope of exhibitions and events. Alongside the physical world, several online sales platforms are also making their voices heard. Daata Editions, created by Art Basel’s Curator of Film, David Gryn, and collector Anita Zabludowicz, is among the most active. Launched in May this year, Daata Editions has made some great sales of its artist commissioned video, sound and web art editions, and perhaps more importantly, it has established a fresh model for selling and buying digital art. On its website, Daata Editions has currently two releases from “Season 1” of artist commissioned works including a collaboration between Martti Kalliala and Daniel Keller, and videos by Takeshi Murata. To figure out more about Daata’s language and concepts, SCREEN was in conversation with David Gryn, who previously said “We need to believe that, in the same way we easily buy music and films online via the likes of iTunes or Amazon, we can buy art via digital files and not have to [physically] possess an object to give a work its validation”1

SCREEN: We know that you curate Art Basel’s film sector where you can observe the market for digital art. But how exactly did the initial idea of creating Daata Editions come to you?

David Gryn: I worked with Art Basel for five years, and before that with various major other art fairs. It was obvious that galleries really don’t think about bringing films, videos, sound and other digital media to art fairs because they haven’t found a way to sell them. It dawned to me that something needs to be done about this, not just by one person but by many. I’ve never been a big believer in the market place per se, but I do believe that you need to have a market place where artists who make good digital artworks can be supported.

So our model of creating Daata Editions is the idea to start commissioning artists, paying them and giving them royalties, marketing the process and what they create, and I came together with these thoughts with collector and philanthropist Anita Zabludowicz, whom I’ve known for a long time. We came from different spectrums of the art world, me working with the art directly and not involved in the market place, while Anita collecting art passionately but also supporting artists and students. She believes in the ecosystem of the art world like I do, and the evolving concept of Daata was something we mutually agreed with.

S: What differs Daata Editions from other online sales platforms?

DG: We are not trying to be different. What we are building is our own bespoke, boutique model. I’m not looking at this being reinventing the wheel, but that we’ve created Daata Editions to present artists who make artworks with digital media, video, web, sound works. It works for that medium as well as we can possibly do within a finite model. Where it may differ from others is that we are very restricted to what we are focused on doing—we are commissioning, any one time, currently 18 artists per “season”. We pay the artists upfront to make the works, which is quite unusual in the art world. They also receive a royalty, which is also quite unusual.

A snapshot of the “Artists” page on the Daata Editions website. The background picture is a frame from Leo Gabin’s “Write Your Name”.

I hope that there are many models, and we are one of many. My view is that we’ll do it very well and hopefully other people will also do well. Just like you need many good galleries in an art fair, and you need many of them in a neighborhood to make it an art center that people might travel to visit. One good thing doesn’t form a market place, but often dominance. What often happens with digital business in the art world is that there’s a desire to be dominant because of the idea of monopoly. You could be the next big thing, the next Facebook or the next Twitter. We are not trying to be that. We are trying to put artists at the center of what we are doing, representing mediums that are actually very much commonplace amongst artists. Really commonplace. It’s almost ridiculous that most artists use digital media even if they are painters, to some degree to research or to communicate. But somehow the art market hasn’t found a way to reflect that yet. And galleries really find it difficult to find a business model around those works and how to find the commodified market place. We are working with art forms that are still finding their feet in that area but we are also working with them because we believe that those are true artists, not some freak shows. All the artists we work with are artists that are emerging and somehow emerged—simply talented artists and digital media is just the way they work.

S: But you seem to have a different language or vocabulary for the components within your model? What’s different about the works in the category “Web”? What’s a “season” (it easily reminds people of TV shows on websites like Netflix)?

DG: A lot of things are about semantics here. It’s trying to find a way to describe what we are doing. You might have noticed that we call everything artists’ video, artists’ sound, artists’ web, because what we see is that artists make the works. It’s not just video art, sounds art or web art—sometimes these are quite old and clumsy terms. The category “Web” is still an amorphous area of different forms of artworks, maybe a website, a video, or GIFs, but it’s enabling us to have different technologies within a section. Right now it’s probably ostensibly things that you could call video in our video section, but they are just made by slightly more emerging artists. With the “seasons”, it is a way of defining what each cycle is. As we were launching, we wanted to give a flavor that Season 1 is the first commissioning cycle. Like on Netflix, you might have a second season, which is a new cycle. What I think of the languages of Netflix is that you go back to Season 1 and Season 2 when you are on Season 10, but are still delighted to look at those seasons. You don’t think of them any less just because they are “older”, and in some cases you realize you have to look at those first.

A snapshot of the “Art” page on the Daata Editions website, where artworks are categorized as “Video”, “Sound” and “Web”.

S: How do you select the artists for each season? How does the collaboration work?

DG: It goes back to what I mentioned as an ecosystem. The artists all have a pretty good aura around them. A few of them recently graduated, like Helen Benigson, Matt Copson, Lina Lapelyte and Charles Richardson. And then there’s others that we have been working with for years and are well known. David Blandy has done a lot of works about gaming and sound cultures. Ed Fornieles and Jon Rafman are both advisors to our project. Leo Gabin, for instance, produce video and film works, but for Daata they have also made sound works for the first time. It’s therefore exciting to commission something that these artists haven’t focused on before. We show them online, but they can be purchased and shown offline. In other words, they are not solely dependent on the online platform. We commission the artists without saying what they should make for us, only that the work should be around 3 minutes or less. The idea is that the works will be fresh, quick and spontaneous. We limit what we do but we never judge the works. There’s no sending back to the artists or saying that we don’t like the works. That’s risky but it’s the way we wanted it to be—trust the artists to deliver. Our business model is a self-sustaining company. The aim is that each cycle is paid for from the previous one, but the artists get paid upfront regardless of sales.

Takeshi Murata, OM Passenger, HD Video, mp4, 0:40 mins ( artwork page on Daata https://daata-editions.com/art/video/takeshi-murata-om-passenger )

S: What about the choice of the website design?

DG: We did something similar with the designer of the website. Studio Scasascia, the company we worked with designed the website of a favorite record company of mine. As I’m comfortable buying music online, I hope to use this model to sell artists’ works as well. My brief to the designers was that we wanted the artists to be the center of the website. We wanted it to be an aesthetically pleasing and also simple platform, doing not more than showing and selling 18 artists’ commissioned works. We commissioned 6 works from each artist, plus one by Jon Rafman, which is free for downloading from the website. Meanwhile all the works can be viewed without registration or payment.

Jon Rafman, Oh the Humanity, HD Video, mp4, 3:00 mins, Unlimited edition.

A certificate for Jon Rafman’s “Oh the Humanity”.

S: Now that the works can be fully accessed on the website, what marks the difference between viewing and owning the works? What do you think drives a collector to purchase something non-physical?

DG: For one artwork, there’s 15 editions for sale. When you purchase one work you can download the high resolution file and own an edition of that work. The price goes up by $100 (in web and sound) or $200 (in video) after each edition sells. The price of a final artwork, for instance in video, can be $5600, which in my view, is probably closest to what the artwork is actually worth. In this way, we want to make it transparent and accessible, so that the works become affordable for many more people. Of course not everyone buys an artwork of $100, but this price is quite cheap for a quality artwork. So we are talking about people who believe in art. We are not trying to convince people who think it’s not worth it, because they might say the same thing about Picasso and Matisse. But still we want those people to be able to watch the works. Unlike Youtube where you find millions of videos and sounds, we are an artist based platform and we show artworks. What drives the collectors is their wish to own artworks, similar to how they come into a gallery or an auction house to buy artworks of other media. I think a collector can do both.

S: How is Daata Editions and your artists doing so far?

DG: We have made some major sales to major art collectors and collections. We will be announcing those in October when we launch the third release. It is in fact magical for us because these are the biggest collectors of this kind of media. It’s also brilliant for the artists because they are now in those big collections. Some of them will truly start their career from this, which could have taken more years for their works to be found or purchased via galleries. Actually, many of the artists on our site don’t have galleries yet. For those who do, several galleries are keen for us to show their artists, because evolving a market for any artist is difficult. So we see what we do as a supportive act. We promote the artists but don’t actually represent them.

Lina Lapelyte, Hunky Bluff ACT2 – Never was a shade, CD Quality sound, wav, 2:57 mins, ( artwork page on Daata https://daata-editions.com/art/sound/lina-lapelyte-hunky-bluff-act2-never-was-a-shade )

S: What’s the sales agreement between Daata Editions and its customers? Do you have something like customer service? What happens if a file is damaged or lost?

DG: If the file on your computer is damaged or lost, you can download again from the website. We won’t make it a problem, since the collectors own the file and their names are on the certificate. If they want to give it to another person and transfer the ownership, they go to the website and change the certificate and then download it in the new owner’s name. Also the collectors can always log in their accounts on our website and view their purchased items online. If a different operating system exists, we will adjust the files to make sure the works play well on it. We want to make the whole process simple and friendly instead of making a prison contract that you enter into. You buy an artwork, and you can view it on whatever platform, and within reason, you can show it in your home and in your office. Of course if you want to show it publicly, the artist owns the intellectual property, and we need to go back to the artist. But we operate based on the trust in the buyer. The art world I operate in is all about good will and credibility, and this world should believe in itself. We don’t want to make the buying of digital art a problem before it’s happened.

S: Did you set a goal of any sort?

DG: We are working with artists, whose natural language is digital and online. We set up this platform with the goal that in the near future people are happy to buy, play and show artworks digitally on their devices. If a gallery can’t sell digital artworks or any time-based media easily, then the artists become compelled to make paintings, sculptures, installations that are easier to commodify. I see digital media equally to the traditional mediums such as painting and sculpture. I hope they can be seen equally by all. With most artists touching upon digital media in some way, we anticipate there will be a real market and audiences will have the confidence to engage with it.

S: Are you confident about creating a “virtual” market for artists and collectors?

DG: Yes. I do think it’s a natural development. It’s not a contrived market because I do believe we are getting to the point where real artists are making really good artworks with digital means. Technology, as their tools, are being used brilliantly. It’s no longer a romanticism of digital media. But again we don’t want to be the only platform to show artists working with digital media. Currently we can’t do more than 18 artists in a season because obviously we, as a small team, are limited. I’d love to think galleries can look at what we are doing and similar companies like ours can copy us, because I believe galleries are the ultimate and best placed curator of the artists they represent. However, many galleries can’t think of doing it, because perhaps they can’t do it properly or still lack the desire. That’s why I think we have to evolve different market places. Not all artworks are sold in the same way. There should be different sales or rental models, but what bonds them, makes them co-exist and move forward together are dialogues and communications. Hopefully we are a powerful voice and I do believe that we are empowering the market place by making people believe they can buy what we have commissioned from the artists and create various commercial relationships.

1 See ANNY SHAW, “Collectors join forces to co-commission digital art”, THE ART NEWSPAPER, 18 June 2015, http://theartnewspaper.com/reports/156860/

Daata Editions 3rd Artwork Released on 12 Oct

In Artprojx, Charles Richardson, Daata, Daata Editions, David Gryn, Frieze, Frieze Art Fair, Jon Rafman, Salon 94, Sound, Takeshi Murata, Video, Web on 28/09/2015 at 2:00 pm
Takeshi Murata, Plant Whisperer (2015). Courtesy the artist and Daata Editions.

Takeshi Murata, Plant Whisperer (2015). Courtesy the artist and Daata Editions.

Daata Editions, the online platform for the sale of commissioned artist video, sound and web editions, is pleased to announce the third artwork release for Season One. The artworks will be available at http://daata-editions.com from 5pm on Monday 12 October with a special release event at the Daata Editions Lounge at the Zabludowicz Collection. The release coincides with the Jon Rafman and Charles Richardson shows opening at the Zabludowicz Collection.

Daata Editions was developed to enable audiences to view contemporary artists who are working in digital mediums, showing artworks made for, and therefore best viewable on, laptops, iPads, iPhones, screens and even cinemas. This new and innovative way to collect art is designed specifically to be a native platform to a new generation of artists who work with moving image and sound, and to empower artists, audiences and the marketplace in an area of artistic practice that remains underrepresented within traditional art market models.

For Season One, Daata Editions has commissioned 18 artists to create six new artworks each in editions of 20, with 15 going on sale to the public via the website and five others automatically put aside for philanthropy. All artworks last no longer than approximately three minutes and are made in ways that challenge traditional modes of exhibition, reception and, therefore, of collecting as well. Daata Editions artists commissioned for the Season One are: 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, Chloe Wise.

David Gryn, Director of Daata Editions, said: “It is important that while we continue to find new artists whose work pushes the definition of contemporary art, we also develop formats through which such work can be best accessed and understood. We also need far more competition from similar platforms that commission, show and sell digitally made art online to empower artists, audiences and the marketplace alike.”

In addition to the commissions available for purchase, all subscribers to the platform receive a free Jon Rafman artwork, made specifically for Daata Editions.

To watch the trailer for the third artwork release, please click here.

Event

Daata Editions 3rd Artwork Release Launch
Monday 12 October, 5 – 6pm
Daata Editions Lounge @ the Zabludowicz Collection
176 Prince of Wales Road
London NW5 3PT
RSVP to hannah@suttonpr.com

Artworks in Daata Editions 3rd Release (Season One)

Video
Ed Fornieles – Climbing
Leo Gabin – Ain’t Gon Do It
Daniel Keller & Martti Kalliala – Exitscape 3
Florian Meisenberg – hihihihihihihihih
Takeshi Murata – Plant Whisperer
Amalia Ulman – White Flag Emoji 3

Sound
Ilit Azoulay – Object #3
Matt Copson – Booty Call
Leo Gabin – Aliens
Lina Lapelyte – Hunky Bluff Act 3
Hannah Perry – sick off smoke
Stephen Vitiello – In The Woods (after Tana French)

Web
Helen Benigson – Cluck, Cluck, Cluck 3
David Blandy – Mist
Rachel Maclean – Let It Go Part 3
Hannah Perry – the worse you feel the better I look
Charles Richardson – Extra
Chloe Wise – should i add an emoji

(All works are 2015)

Press Information

Hannah Gompertz, SUTTON
+44 (0)207 813 3577 | hannah@suttonpr.com