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Posts Tagged ‘Art’

The Nijinsky Project – Faun by Jane Bustin

In Art Night, Art NIght London, Dancer, Film, Gryn, Isaac Gryn, Jane Bustin, John Snijders, London, Marriot, Nijinsky, Poppy Bowers, Uncategorized, Video on 16/10/2018 at 2:33 pm
The Nijinsky project – installation assemblage pieces:
1933 bio Nijinsky by Romona Nijinsky, cloth, acrylic, porcelain, wood, steel
IMG_5446

Romola’s love

work by Jane Bustin

Relentless Hatred

work by Jane Bustin

Dark Moods

work by Jane Bustin

Hothouse plants

photo 1

Misfortunes

The Nijinsky project – Faun

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Premiered for Artnight London 2018 at London County Hall, Southbank London

.
Jane Bustin
Isaac Gryn 
John Snijders
.
Installation and performance – Vimeo 
Highlights – Vimeo
.
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.
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Jane Bustin, artist, lives and works in London and is represented by:
Copperfield London.
&
Fox Jensen Sydney & Fox Jensen McCrory Auckland
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Rebel Souls – A Trailer

In Art Fair, Art Rio, ArtRio, Daata, Daata Editions, daataeditions, David Gryn, Max Reinhardt, MIRA, Rebel Souls, Sound, Uncategorized, Video, Video Art on 26/09/2018 at 2:51 am

 

Rebel souls image

Rebel Souls

curated by David Gryn & Max Reinhardt

MIRA at Art Rio, 26-30 September 2018

TRAILER https://vimeo.com/291832957

Rebel Souls is the artists video and sound program for MIRA at Art Rio, curated by David Gryn, Daata Editions with sonic accompaniment from Max Reinhardt, musician, DJ and presenter of BBC Radio 3’s Late Junction.

Rebel Souls used as its artwork selection inspiration – artworks, sounds and ideas that emanated from the rebellious and radical zones of the 1970’s – from the discordant sounds and vision of the Female Punk Artists and the rhythms, anthems and spirit of Tropicalia. Like previous projects in Moscow, Miami and London, the Gryn and Reinhardt collaboration takes the form of an artist’s moving image curated compilation, using the music and sound within the artworks as a catalyst for developing a soundscape filled with music and sonic interventions that reflects on the selected artist video program.

http://artrio.art.br/mira

Artists: Adriano Motto, Alison O’Daniel, Anna Costa e Silva, Annie Bielski, Ayrson Heráclito, Bárbara Wagner & Benjamin de Burca, BasicaTV, Dora Longo Bahia, Felipe Cama, Fernando Velazquez, Gabriela Mureb, Gina Birch, Guy Oliver, Iain Forsyth & Jane Pollard, Igor Vidor, Kim Gordon, Kota Ezawa, Jeremy Couillard, Laleh Khorramian, Lenora de Barros, Maria Laet, Matt Stokes, Puck Verkade, Rä di Martino, Rosie Carr, Rosie McGinn, Thiago Martins de Melo, Thora Dolven Balke, Tin Ojeda, Tromarama, X Ray Spex

Galleries include: 303 Gallery, A Gentil Carioca / Galeria Marilia Razuk, Anita Schwartz Galeria / Millan, Cavalo, Central Galeria, Copperfield London, Daata Editions, Dürst Britt & Mayhew, Edouard Malingue, Fortes D’Aloia & Gabriel, Galeria Movimento, Kate MacGarry, Luciana Caravello Arte Contemporânea, September Gallery, Shulamit Nazarian, Galeria Superfície, UV, Vermelho, Workplace Gallery, yours mine & ours, Zipper.

Trailer/&sound by Jacob Gryn​
Image: Jeremy Couillard
http://daata-editions.com

The Afterlife Will Have Everything – EXPO Sound 2018

In Chicago, Daata, Daata Editions, daataeditions, Expo Chicago, Expo Sound, Sound, Uncategorized on 15/09/2018 at 10:47 pm

SLIDES_EXPO SOUND

EXPO SOUND

The Afterlife Will Have Everything

CURATED BY SASKIA HUBERT FOR DAATA EDITIONS

TRAILER

Installed on the /Dialogues Stage within the exposition hall, the EXPO Sound program features a curated election of works by Daata Editions (https://daata-editions.com)—an online platform for the sale of commissioned artist video, sound, and web art editions—launching new artworks by select international artists. Additionally, a select group of artists and alumni of the School of the Art Institute Chicago are included in the 2018 program via Dr Giovanni Aloi, the SAIC Liaison.

PROGRAM STATEMENT
The capacity of voice is in flux. Powered by the rise of artificial intelligence and a growing aspiration for human embodiment, the role of voice requires us to shift perspective. To go beyond the human. Acknowledging the role of speech as it exists from new perspectives, from that of the machine. The first work, Maria Antelman’s Sin-Taks, represents a key node in this trajectory. Using spoken word, Antelman represents the perspective of search engine information processors, demonstrating a piece composed of stop-words and non-words, filtered out by search engines to help accelerate the process of harvesting information. Highlighting this distinctive method of processing information is Stephen Vitiello’s piece The Waves, which obliterates any component of human speech. The narrative—a reading of Virginia Woolf’s eponymous book—is methodically translated into a floating atmosphere of drone sounds, terminating arrays of soft distortion.

Of course, soon the afterlife will too have everything. From this vantage, young perspectives on the role of birth and death are woven together in Thora Dolven Balke’s YD4. The artist presents an introspection, driven by a selection of voices that bear semblance with one’s internal monologue, to offer both comforting and disruptive ideas to the listener. The absence of oral communication and its reconstitution within the somatic discourse of performance is reflected in Main Tool is Dummy by artist duo FlucT. The corporeal exchange draws on rhythm and nonlinearity, as commonly exerted in their work. Confronting the listener with a rich visual picture, as if embedded within the arrangement of sounds, the performative aspect of the duo is within touching distance.

The involuntary politicized voice is a facet that emerges within Matt Copson’s audio pieces. Exposing hate speech within the concealed environment of a phone call, Copson illuminates the anonymity of the perpetrator to reawaken memories about acts of discrimination; those often captured on video and spread through social media platforms.

The nature of a place solely captured by the voices that take place inside of it is John Skoog’s work. His exclusive approach to field recording within Marijuana Mars and Marlboro, rejecting the traditional execution of the medium to capture both environmental and human sounds. This selection is woven together through an explorative composition by Marina Rosenfeld that revisits ‘perceptual sound field reconstruction’ as developed in the AT&T Bell Laboratories. This technique pursues an authentic reproduction of sound as it was experienced live with a calculated array of microphones to capture spatial sound. Siting the past of today’s urbanized Bermondsey as a place of retreat, tidal rhythms of flooding and burning, polyphony, and palimpsest is surveyed in Fay Nicolson’s work Spa Songs. Drawing on concepts of Swiss Composer Émile Jaques-Dalcroze, who established the musical experience through movement, she crystallizes an integrated musical encounter between eight performers into the fabric of vocal history.

These recently commissioned works for Daata Editions are paired with sound pieces produced by current students at the School of the Art Institute of Chicago; Jenny Boyles, Xiaolong Fang, Jack E Jacob, Yitong Lu and Kevin McGrath / Yu Nong Lin. With artists Anthony Janas and Andy Slater, High Concept Labs. Installed at the /Dialogues Stage within the exposition hall, the EXPO Sound program will provide a dynamic interlude to the panel programming at the 2018 edition.

Curated for Daata Editions by Saskia Hubert & David Gryn

PARTICIPATING ARTISTS
Maria Antelman | Daata Editions
Thora Dolven Balke | Daata Editions
Jenna Boyles | School of the Art Institute Chicago
Matt Copson | Daata Editions
Xiaolong Fang | School of the Art Institute Chicago
FlucT | Daata Editions
Jack E Jacob | School of the Art Institute Chicago
Anthony Janas |High Concept Labs
Yitong Lu | School of the Art Institute Chicago
Kevin McGrath / Yu Nong Lin | School of the Art Institute Chicago
Fay Nicolson | Daata Editions
Marina Rosenfeld | Daata Editions
John Skoog | Daata Editions
Andy Slater | 3Arts/High Concept Labs
Stephen Vitiello | Daata Editions

https://www.expochicago.com/programs/expo-sound

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

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

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

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

Elliot Dodd, The Doctor, just released on Daata Editions

In Daata, Daata Editions, daataeditions, David Gryn, Elliot Dodd, Independent, Uncategorized on 26/02/2018 at 11:49 am

05_Gaining Clarity

Daata Editions are delighted to release the latest artist commission of Elliot Dodd’s The Doctor, with six individual works and one special composite work that features all six works.

‘The Doctor’ forms a six part meditation on masculine bodily exertion, chemical energy and disorientated calm. Alternating between fetishised burnt rubber and fluorescent sugary highs; the films comprise a rhythmic diagram of the palpitating condition of now.

Dodd works with surfaces and techniques which embody the spirit of the global techno-macho-man. He designs sculptural objects, drawings, and moving images that reconfigure the languages of desire, confidence and authority into a new fluid, composite structure.

Recent exhibitions include: ‘Flickering Boundaries’, Madein Gallery, Shanghai; ‘Steps to Aeration’, Tanya Leighton, Berlin; ‘The Manbody’, Zabludowicz Collection, London and ‘Virtually Real’ Royal Academy of Arts, London.

TRAILER

Daata Editions

David Gryn, Sound and Technology Curator, about If So, What?

In Art Basel, Art Fair, Curator, Daata, Daata Editions, daataeditions, David Gryn, If So, What ?, ifsowhat, San Jose, Silicon Valley, Sound, Technology, Uncategorized on 06/12/2017 at 8:54 am

Screen Shot 2017-12-06 at 03.28.47

David Gryn, Sound and Technology Curator, about If So, What?

By Abby Margulies

“I think about audience as much as I think about how to support artists.” Says David Gryn, who is speaking with me in the lead up to the opening of Art Basel Miami Beach (ABMB) about curating film programs, his thoughts on the upcoming fair in Miami, and his new role as Technology and Sound Curator for If So, What?. Gryn, who is Director of Daata Editions and Artprojx, is also going into his 7th year as curator for film and sound for ABMB, and is a renowned expert in the field of film, digital media, and sound curation.

Right now, Gryn is hard at work for ABMB, which opens this week. This year’s program takes as its theme the universal language of dance, and explores the relationship between music and movement. The program will include three films by artists Jibade-Khalil Huffman, Jen DeNike and Tin Ojeda, as well as a series of short films presented by the Chicago Film Archive in collaboration with Chicago-based gallery Corbett vs. Dempsey.

“The goal,” said Gryn, who has dedicated his career to elevating and creating a platform for film and digital art, “is to encourage galleries to show the mediums that they don’t really bring to art fairs or find easy to sell. And the result is that it often raises the profile of the work and the medium.”

For the sound component of the program, Gryn is working with artist Hans Berg to program surround sound in the 160 speakers in SoundScape park, part of New World symphony. The sound element was a component that Gryn introduced into ABMB a few years ago, and which runs each evening before the film programming begins.

One of Gryn’s favorite aspects of the program is that the film and sound portion of the fair is open and accessible to everyone. “At the screenings there’s a big mix of huge art collectors, homeless people, and families from Miami,” said Gryn. “They are all equal to me; that mix is interesting to me. I’m trying to be accessible to as many people as possible.”

Gryn is in the business of empowering and providing a platform for artists. He is the Director of Daata Editions, a platform that he developed with art collector Anita Zabludowicz. Daata Editions commissions artists’ video, sound, poetry, and web-based works, and makes them available for purchase by museums, fairs, hotel brands, and private collectors, among others. But as a curator, and someone who ultimately wants to see these artists make a living, he is also in the business of audience engagement.

“When I view an audience I am always looking at how they are engaging with the work. I think if I’m not doing the right thing it’s not always good for the artwork.”

For Gryn, his commitment to curating film and creating a platform for artists working in video and digital mediums to present their work serves a larger mission. “I am trying to empower a medium, to make sure there is a marketplace connectivity,” said Gryn.

Working with If So, What? is a natural fit for Gryn, who said that he is very excited to be working with and supporting an innovative new art event. “We have a mutual belief in supporting the artists, in being honest, truthful, and diligent about how we operate with artists.”

In addition, Gryn sees Silicon Valley as an interesting new frontier. “I think there is a change going on and a growing interest in art. It was hitherto dominated by the dot com sensation, but I think that has moved on and people are becoming interested in other ways of being,” said Gryn. “The art gold rush is starting to take place, and people think there is more opportunity on the West Coast to gain traction. Being supportive of a new art fair model excites me.”

With regards to his plans for If So, What, Gryn is still holding his cards close. He is planning to work with some of the artists that he has commissioned for Daata Editions, as well as to collaborate with artists and designers that he has been interested in partnering with, some of whom are working in virtual reality, and others who are experimenting with new and unconventional surfaces on which to display video work. He is also interested in drawing on themes relevant to the Bay Area, from the South Bay’s long connection to the tech industry, to San Francisco’s history as a hub for LGBTQ communities.

Part of Gryn’s mission is to help communicate the medium of film as an artwork, which an event like If So, What? provides a perfect opportunity to do. “I’m trying to delineate that this is an artwork more than anything,” says Gryn. “Boundaries are becoming ever more blurred and I’m trying to make sure that the boundaries are at least acknowledged. The function of art is itself. It is not a marketing tool to sell something. It is nothing other than to be itself.”

Ultimately though, it is always about the artists, and Gryn is committed to helping them along – by elevating their medium and creating a perfect forum for audiences to engage with their work.

“Artists are leaders of cultural thought, of intellectual thought, and they are often undervalued and under-looked. Even at art fairs things get forgotten, which is why I’m excited by a new fair that thinks about artists in a different way.”

https://www.ifsowhat.com/

FlucT: The psychological thriller of Evidence, now on Daata Editions

In Daata, Daata Editions, daataeditions, David Gryn, FlucT, Performance, Uncategorized, Video on 22/10/2017 at 12:40 pm

FlucT – The psychological thriller of Evidence 

Now available to buy on Daata Editions

The subjects of these short texts feature FlucT. The table of contents is in itself hermetic. In 6 episodes, Monica & Sigrid traverse the psychological thrill within the manipulative isolation of a game. They flaunt evidence in the effective nature of capital as it sings the absurdity of our behavior and our performitivity. They include birdcages and bitches; the underlying systems that control us, warrior tactics toward empathy and the pregnancy of their relationship. The psychological thriller of Evidence can be considered a guidebook to the incessant questioning of reality that FlucT sees as the task of performance.

Monica Mirabile and Sigrid Lauren have been performing as FlucT since 2011, presenting a hybrid collaboration of radical choreography, confrontational performance art, collaborative practice and pure magic. Before entering into a performance, each individual places a spell of protection over each other, allowing themselves to push their physicality to the max while remaining mindful of their partner’s saftey. Their dance practice has been described as “violently intimate” and their performances often confront and challenge not only the space between their bodies, but between the performers and audience. Most works involve audio tracks designed by the artists, leading to a further intimacy and connection between the performance, performers, and audience. This work, “Main Tool as a Dummy,” reflects the rhythm and nonlinear narration of their performance work.

FlucT by Whitney Mallet in Cura magazine