David Gryn blog

Posts Tagged ‘Art’

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

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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/

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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

 

Daata x citizenM breakfast talk with Jon Sharples – Oct 30

In Art, Artist, citizenM, Daata, Daata Editions, David Gryn, Jon Sharples, Tower of London, Uncategorized on 15/10/2017 at 9:43 pm

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Join us on Monday October 30th at 8.30am at citizenM Tower of London for a breakfast discussion with intellectual property lawyer and Chair of the Simmons & Simmons Art Network Jon Sharples. Jon will talk about corporate collecting and his interest in art, the law and digital mediums, joined by Art Basel in Miami Beach Film & Sound curator David Gryn and Director of Daata Editions. Including an audience Q&A.

Book to join us at Eventbrite

Lu Yang Interactive Hearse – the Daata Editions Commission powered by Artune in collaboration with PHOTOFAIRS | Shanghai

In Artune, Daata, Daata Editions, daataeditions, Lu Yang, Photofairs, Shanghai, Societe Berlin, Uncategorized on 09/08/2017 at 9:05 pm

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PHOTOFAIRS | Shanghai has just announced the launch of the Daata Editions Commission powered by Artune, The Social Platform for a Global Art Community, at the fourth edition of the fair.

This year’s commission will be created by contemporary Chinese artist, Lu Yang. The new work, ‘Lu Yang Interactive Hearse’ will be premiered at the fair and available on the Daata Editions website as a Free Download, in response to a flourishing interest from the Asian Art Market to engage with the digital medium.

Lu Yang (born 1984, Shanghai) is a contemporary artist whose groundbreaking multimedia works explore themes such as neuroscience, mortality and religion. Yang’s work “Moving Gods” (2015) was featured in the China Pavilion at the Venice Biennale. Lu Yang is represented by Societe, Berlin

Daata Editions commissions video, sound, poetry and web art, presenting and distributing the artworks online for purchase as limited-edition, digital downloads. Previous commissions include works by both international established and emerging artists including: Sue de Beer, Ed Fornieles, Hannah Perry, Jon Rafman and Amalia Ulman. There are over 70 artists and almost 300 artworks on the platform.

ARTUNE is The Social Platform for a Global Art Community: Follow your favorites, receive latest insights, trade works of art and discover talented artists. Artune is a new social platform aiming to connect people interested in Art, from artists, art lovers to art galleries, auction houses and art fairs.  The platform will allow its users not only to connect with art friends but also to share art moments, read art news, trade works of art and discover upcoming talents. Artune is coming for IOS and Android mobile application, and everyone can easily download free of charge at the Artune website.

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NAUSEA – a VR exhibition – featuring: Eddie Peake, Florian Meisenberg, Anne de Vries, Ruben Grilo, Jack Strange and Anna K.E.

In Anna K.E., Anne de Vries, Daata, Daata Editions, daataeditions, Eddie Peake, Florian Meisenberg, Jack Strange, Nausea, Ruben Grilo, Uncategorized, Virtual Reality, VR, ZAP Shop on 19/07/2017 at 5:14 pm

 

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NAUSEA – a VR exhibition

Preview: Wednesday 26 July 6–9PM

Eddie Peake, Florian Meisenberg, Anne de Vries, Ruben Grilo, Jack Strange, Anna K.E.

ZAP Shop, 41 Dover Street, London W1S 4NS

Exhibition continues until 10 September

NAUSEA brings together six of today’s most exciting contemporary artists who have created work in response to most sophisticated Virtual Reality available. Users can navigate new work by Eddie Peake, Florian Meisenberg, Anne de Vries, Ruben Grilo, Jack Strange and Anna K.E. through an innovative system of portals controlled by their actions in real time and space.

The NAUSEA VR exhibition is curated and produced by Philip Hausmeier of Metaphysics VR. This event is in collaboration with Daata Editions.

The Preview is FREE and on a ‘first come – first serve’ basis. Book your slot for the NAUSEA Exhibition, open until 10 September £5 for 15 minutes, book your place now!

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Text for Jane Bustin by Anthony Rudolf

In abstraction, Anthony Rudolf, Berlin, Gallery, Jane Bustin, Leslie, Minimal, painting, Uncategorized on 05/07/2017 at 6:53 pm
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Jane Bustin, Fühler at Leslie, Berlin

TEXT FOR JANE BUSTIN
Anthony Rudolf

What could be less verbal than a Jane Bustin painting?

What could be more verbal than a Mallarmé poem?

‘One does not write with ideas but with words’, Mallarmé said to Degas, who fancied himself as a poet and had plenty of ideas.

As Borges might have said, we would expect the first livre d’artiste to have been created by Mallarmé (as translator) and Manet: Poe’s ‘Raven’, and we would be right.

Let me rephrase my first sentence: not what could be less verbal but what could be more silent than a Jane Bustin painting? After all, Debussy’s La Mer is as wordless as a Bustin painting. Silent it is not.

(Debussy set one of Mallarmé’s most significant poems, ‘L’Après-midi d’un faune’, to music. Mallarmé told Degas: ‘I thought I had already set it to music’).

My answer to the question posed above — what could be more silent than a Jane Bustin painting? — is a dead child whose absence his poet father commemorates, that “absence [which] is condensed presence” (the phrase is from a letter of Emily Dickinson, a poet well worth reading “against” Mallarmé).

The dead child is Anatole Mallarmé, whom Jane Bustin too commemorates and whose existence breathes into, inspires, Jane Bustin’s paintings, via the father’s heart-rending posthumously published poem.

It is neither paradoxical nor ironic that Jane Bustin depends so heavily on words during the gestation of her work exhibited at Test-tube. Goya went further: he included words inside the visual image.

Mallarmé would have reacted to these paintings with silence. He was always eloquent.

By Anthony Rudolf 2012

from
European Hours: Collected Poems by Anthony Rudolf

Born in London in 1942, Anthony Rudolf has two children and two grandchildren. He is the author of books of literary criticism (on Primo Levi, Piotr Rawicz and others), autobiography (The Arithmetic of Memory) and poetry (The Same River Twice and collaborations with artists), and translator of books of poetry from French (Bonnefoy, Vigée, Jabès), Russian (Vinokourov and Tvardovsky) and other languages. He has edited various anthologies. His essay on R.B. Kitaj was published by the National Gallery in 2001, and he has published essays on other painters. He is Paula Rego’s partner and main male model. He has completed a volume of short stories and is now at work on two new memoirs. His reviews, articles, poems, translations, obituaries and interviews with writers have appeared in numerous journals. Rudolf is an occasional broadcaster on radio and television and founder of Menard Press. After a lifetime of uninvolving day jobs, he became Visiting Lecturer in Arts and Humanities at London Metropolitan University (2000-2003) and Royal Literary Fund fellow at the Universities of Hertfordshire and Westminster (2003-2008). In 2004, he was appointed Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture and, in 2005, he was elected Fellow of the Royal Society of Literature

Jane Bustin, Fühler at Leslie, Berlin

http://lesliegallery.de/jane-bustin/

Jane Bustin, Fühler at Leslie, Berlin 22 June

In Art, Berlin, Ceramics, Copper, Copperfield, Gallery, Jane Bustin, Leslie, Paintings, Poppy Bowers, Uncategorized, Whitworth on 18/06/2017 at 11:41 am
3D work by Jane Bustin

Rehearsal II, copper, acrylic, oxides, cloth
80cm x 50 cm overall, Jane Bustin, 2015

Jane Bustin

Fühler

Opening: 22.6.17, 6 pm
Exhibition: 23.6.17 – 20.7.17

Leslie

Bergfriedstraße 20
10969 Berlin

http://lesliegallery.de/

Since the 18th century, European philosophers have distinguished our capacity to feel subjectively from our ability to think rationally. We are sentient beings. As the late neurologist and author Oliver Sacks claimed, ‘perception is never purely in the present – it has to be drawn on experience of the past’. Jane Bustin’s exhibition Fühler, to have feelers or sensors about a given subject, calls on this capacity.

Bustin’s approach to painting foregrounds a conscious experience of material surface and texture. Although abstract, her works are evocations of people and histories. They are grounded in a range of intellectual sources, primarily European modernist poetry, design and literature as well as theology and philosophy. Such concepts are given physical expression through her intuitive arrangements of materials. Oil, dyed silk, porcelain, woven cloth, polished copper, tulle and ceramic glazes are just some of the media used to give shape and feeling to philosophical ideas. Born out of the tactile, her works are Fühler; they are imbued with a sensory memory and resonate with emotion.

Four works in the show, Apres II, Nijinsky I, Nijinksy’s Windows and Rehearsal II, pay tribute to the radical Russian ballet dancer and choreographer Vaslav Nijinksy (1890-1950). Rising to prominence as part of the belle epoch, Nijinksy combined depth and intensity of expression with symmetry to pioneer new stylistic ideas in modern dance, echoed in the compositional balance of Bustin’s three textural diptychs.

In Après II textile becomes a stand-in for the body and the memory of its physical activity. It takes its cue from Nijinsky’s choreography of the ballet L’apres midi d’un Faun in 1912, where the movement of fabric is used as a metaphor for sexual desire and physical exhaustion. Like most of Bustin’s works the scale is of human proportions. Hung quite low, Apres II sits on the wall around the height of the artist’s heart.

Elsewhere, earlier works in the exhibition include Christina the Astonishing, part of a series referencing the iconography of female saints and Tablet I, Tablet III and Tablet IV, evoking archaic forms of communication. Combining sheets of paper from both old and new notebooks, they prompt memories of the past alongside thoughts of the future.

Refusing to be filmed during his lifetime, Nijinsky strongly believed his performances should only be experienced live. Likewise Bustin prefers her works to be encountered in real time under the honest inconsistency of natural light. Like the tip of antennae, one’s eyes should roam over surface, roll over folds, shift focus through diaphanous layers and peer into copper reflections. Her works call upon an understanding of Fühler and our capacity to feel as sentient beings. They ask us to look again.

Text by Poppy Bowers, Curator, Whitworth Gallery, Manchester

Exhibited works

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Label Dalbin presents Table.Video at Design Miami/ Basel

In Daata, Daata Editions, daataeditions, Design Miami, Design Miami Basel, Label Dalbin, Table.Video, Uncategorized, Video on 07/06/2017 at 9:44 pm

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Label Dalbin is proud to present videos from Daata Editions inside Table.Video at Design Miami/ Basel. This innovative table displays videos and images conceived by artists and uploaded by the user. It combines the classic function of furniture with a « digital canvas » of still and moving images in the heart of your living or exhibition space. 

Daata Editions commissions artist video, sound, poetry and web. 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. Limited edition artworks can be viewed and acquired as digital downloads.

Label Dalbin produces videos, installations, and performances at the interface between music and the visual arts for cultural institutions and private collections. Label Dalbin also conceives innovative audiovisual installation for interior design.

Visit Design Miami/ Basel
Booth C9, Hall 1 Süd, Messe Basel, Switzerland

From June 13th to 18th, 2017

More Info:

https://www.table.video/daata-editions

http://basel2017.designmiami.com/

‘Accessibility and value no longer need to be at odds’ – Whitney Mallet, a new Foreword for Daata Editions

In Daata, Daata Editions, daataeditions, NY Times, Uncategorized, Whitney Mallett on 02/06/2017 at 1:41 pm

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Accessibility and value no longer need to be at odds

A new Foreword for Daata Editions by Whitney Mallett

Trying to sell video art drove Gerry Schum to suicide. In the early 1970s, the German artist was a pioneer of the limited edition model, selling both limited and unlimited edition moving-image works through his Düsseldorf videogalerie. While it was visionary, the venture only lasted a year and a half. Low demand from institutions and private collectors combined with high overhead costs forced Schum to shutter the gallery in late 1972. He took his life a few months later in March 1973.

Though it doesn’t usually lead to such tragic ends, selling new media work can still be frustrating today. Forty-five years later, it remains true that there is not the same collector base for video works as there is for painting and sculpture. New media works, of course, aren’t as tactile as other art objects, and the market’s growing pains are usually blamed on digital art’s infinite reproducibility. Granted, it’s a simpler proposition to exchange a unique object for an agreed upon sum of money, it’s still not immediately obvious why a Giacometti bronze sculpture should be worth over $100 million dollars just because it’s something you can run your fingers over. Value in the art market is based on a slew of subjective and socially-determined factors. There’s no real reason why digital works can’t accrue the same values as oil paintings, there just needs to be a culture that encourages investing in them and a system that regulates their authorship and ownership, two things Daata Editions is strengthening through their platform.

In this smartphone-saturated world, people are very familiar with screen-based emotional experiences. The premise of communing with an art work based in bits and bytes is not as alien as it might have been a few decades ago. But as content has become ubiquitous online, it’s also been devalued. We started expecting for free the same works we used to pay to read in a magazine or watch in a movie theater, and seduced by the promise of viral fame, we started producing content for likes instead of pay while social media corporations profit from our toil. Understanding this ecosystem, Daata has devised a platform that shares works freely online and gets the artists paid. This is made possible by a tiered system where the work is shared online with a small watermark (there’s an aural equivalent for sound works as well) while collectors purchase the unaltered version.

In another era, video artists had to weigh the advantages of popularity and scarcity. American artist Cheryl Donegan recalls in an interview with The New York Times, “People would say they saw a tape of mine in Berlin, which I didn’t know about, and it freaked me out, but then I thought that sharing my work could also make it more popular.” With the dawn of the web, models of sharing video art like UbuWeb emerged which facilitated a wider viewership of material but through a non-commercial platform, giving digital life to pre-digital video works which were out-of-print. Daata Editions keeps in mind these art-loving audiences who would watch bootleg VHS tapes or peruse UbuWeb for mind-bending fare. All the works are available online at no cost. This decision also suggests a keen understanding of how a work’s popularity can increase its value, benefitting the collectors who have invested in buying a limited edition. Accessibility and value no longer need to be at odds.

Daata Editions model selling limited runs of digital works (video, sound, web, and poetry) through their online platform continues to grow the culture of investing in and appreciating new media art. They are making the purchase of screen-based works attractive to a wider audience of collectors while supporting the artists working in these mediums, making valuable contributions to building a sustainable market.

Whitney Mallett is a writer and filmmaker based in New York. She’s an editor of the digital platform Topical Cream

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

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