Saya Woolfalk – All the colours of a rainbow

ALL THE COLOURS OF THE RAINBOW

by POSTmatter Editors | September 7, 2016

A CONVERSATION WITH SAYA WOOLFALK ON CULTURAL MIXES, UTOPIA AND HER NEW COLLABORATION WITH DAATA EDITIONS AND POSTMATTER. “I AM DEEPLY INTERESTED IN PLAY AND THE POSSIBILITIES THAT EMERGE THROUGH PROCESSES AND I TRY TO BRING TOGETHER THINGS THAT MAY NOT GENERALLY BE FUSED TOGETHER”

Saya Woolfalk is a New York-based, Japanese-born interdisciplinary artist. Using science fiction, fantasy, anthropology and semiotics, she explores the alternative utopian possibilities of identity. Melding dance, video, animation and sculpture in a number of ongoing projects, she offers fantastical narratives of cultural hybridity to expand traditional visions of the present and ideas of the future.
In a recent public performance piece that took over New York’s Fulton Centre, she paired performance with interactive app technology to offer passers by a glimpse into her kaleidoscopic imagination. It is one in a series of pieces that builds the story of the Empathics, a fictional race of women who Woolfalk is writing as unbound by the limits of genetics.
In collaboration with Daata Editions, we preview one artwork from Woolfalk’s upcoming 2016 series Color Mixing Machine. In it, she continues to build the story of the Empathics through ritualistic digital creations that reimagine what it means to be human. The full set of artworks will run in POSTmatter from 29th September, and are available to buy on Daata Editions, an innovative digital platform representing contemporary moving image and sound artists. Our preview and interview with Woolfalk is presented in association with WeTransfer.

PM: What is the mission of your fictional future female species, the Emphatics, and the space they inhabit, ‘No Place’?
SW: ‘No Place’ is a project I worked on from 2006 to 2008 with filmmaker and anthropologist Rachel Lears. The No Placeans are plant humans from the future who change gender and colour, transform into the landscape when they die, and repurpose refuse into usable technologies. The Empathics are people in the present who establish something called the Institute of Empathy (IoE) to study No Place. The IoE encounters a grouping of No Placean bones and fungus on the bones stimulates their physiological mutation and cultural transformation. This mutation allows the Empathics to easily cross species by integrating foreign genetic material into their DNA.

PM: From performance to digital to textile, your art practice includes a comprehensive range of materials, forms and processes. What is your process for developing new multimedia pieces?
SW: I usually start with an idea, which changes as I make the physical work. I create drawings, mock-ups and digital renderings and then create physical prototypes. Both the mock ups and prototypes are edited as I go along. Many are discarded or stored as parts for future projects. I constantly move through multiple media and I work simultaneously in many.

PM: What is it about the history of craft as a practice that appeals to you and how do you see it as remaining prominent in a time when analogue methods are being outpaced by automation?
SW: I was taught by feminists at Brown University, and the work done at Judy Chicago and Miriam Schapiro’s Womanhouse was incredibly influential for me when I began making my own work. The students who created that project reimagined and reconstructed a home to integrate alternative logics into its structure. Their use of craft based practices to transform the domestic appealed to me as a kitchen table way of making art that could address larger social issues.
I also use many digitally methods to produce work. I have created augmented reality garments, digital video and animation, as well as vinyl wall papers printed from vectorised files. However, I try to maintain a relationship to the handmade by using original hand-printed artworks and collages as the raw material for the creation of the work.

PM: Can you discuss the notions of hybridity that feature in your work?
SW: I am deeply interested in play and the possibilities that emerge through processes and I try to bring together things that may not generally be fused together. When I started working on the Empathics project, I was inspired by the dual notion of a chimera. A chimera is both an imaginary female monster with disparate parts, and a scientific term for a genetic organism composed of two or more genetically distinct tissues—for example, partly male and partly female. This is one of my entry points into thinking about hybridity.

PM: What is your personal relationship with religion and spirituality, and how has it influenced your work?
SW: Many of the forms I use evoke the religious and spiritual. I do this to set a tone for my audience, so they have a sense that they are entering a state of liminality. My own life is relatively secular, although I was raised Catholic on my father’s side and Buddhist on my mother’s.

PM: It feels as if you are envisioning a model for a future that prioritises indigenous belief-systems, the female, digital innovation and harmony. This stands out as optimistic at a time when futuristic visions are so often grey, mechanic and dystopian. Is your commitment to a sense of joy, communion and hope a deliberate choice or natural occurrence for you when making work?
SW: The Empathics were conceptualised as a group of humans who became incredibly receptive to the introduction of foreign genetic material. I wanted to explore how morphology and culture are mutable through contact and creolisation. As I make work, I explore narratives that offer my audience a sense that there may be positive solutions for our often-dystopian visions of the future. I would say that yes, I make a deliberate choice to offer a sense of hope.

This interview is published in partnership with WeTransfer, as part of our series exploring the creatives who push the boundaries between digital and physical space in new and surprising ways. See Saya Woolfalk’s work custom moving image piece on WeTransfer here.
The six works from ‘Color Mixing Machine’ are now Online at Daata Editions, in association with POSTmatter, and are now available to buy online. Daata will be exhibiting a specially created artwork by Saya as part of the project at Expo Chicago, in conjunction with this POSTmatter and Daata Editions collaboration.

Saya is represented by Leslie Tonkonow Gallery NYC

Leaving the Nest – a text for Wimbledon MFA

The Outro text for Wimbledon College of Art MFA degree show catalogue

Leaving the Nest

The MFA course is graduating. A group of artists aged between 23 and 67 from countries all over the world. Now leaving the safety of a leading art school to enter the fray of the art world.

The art world eco-system comprises of artists, education, galleries, art fairs, museums and institutes, funders, collectors, curators, organisers, critics, advisors, auction houses, collaborations, project spaces and residencies. These all have their own inherent and combined hierarchies, secret codes, politics, processes and languages. It is sometimes impossible to fathom, seemingly unregulated and not always desirable. It has grey but very real borders, which govern and determine its outcomes, confirming the status of each other and generally the best wins out in this wholly abnormal creative, business and manufacturing process.

Ultimately the art world is yours – the artists, who make the art, to explore the unknown, utilise all mediums, show audiences new thoughts, horizons and aspirational aesthetics. A process to engage, educate, enthral, exude beauty, anger and banality.

In a world with dominant brands such as Frieze, Art Basel, Hauser & Wirth, Gagosian, Tate, MoMA it is very hard to see the wood for the trees. In the making of great art, there are often many layers of failure. The artists that fill these esteemed entities have not always been successful, not all they touch is gold, but what they do is to persevere, persist, be disciplined and exude a belief in their entire practice in their focussed pursuit of making art.

The art worlds ultimate winners are those who constantly strive to make the very best artworks, collaborate, communicate, take risk and are not basing their future on wealth creation, but on pure art making. Great things will happen if you truly believe in yourself and convey your message with confidence.

Be true, be believable, be an artist.

–

David Gryn, Director of Daata Editions and Artprojx and Curator of Film, Art Basel in Miami Beach

https://wimbledonshow2016.wordpress.com/

Daata Editions 5th Artwork Release – coming soon

 

Ed Fornieles, Sleeping 2015

 

Daata Editions 5th Artwork Released on Thursday 3 March 2016

coinciding with the New York art fairs …

Independent NY, The Armory Show, ADAA – The Art Show, Spring Break Art Show, Volta, Moving Image, Pulse and more …

Artworks:

Ilit Azoulay – Object #5
Helen Benigson – A Rude Girl Arse Glistens Like Silicone. Cluck, Cluck, Cluck. 5
David Blandy – Sea
Matt Copson – Letter from War
Ed Fornieles – Sleeping
Leo Gabin – The Heart Wants (Sound)
Leo Gabin – Fast Lost by Ho Ho Click (Video)
Daniel Keller & Martti Kalliala – Exitscape 5
Lina Lapelyte – Hunky Bluff ACT 5
Rachel Maclean – Let It Go Part 5
Florian Meisenberg – the_anciety_of_influence
Takeshi Murata – Tennis
Hannah Perry – let go beat (Sound)
Hannah Perry – Waiting here (Web)
Charles Richardson – Needles
Amalia Ulman – White Flag Emoji 5
Stephen Vitiello – The Waves (after Virginia Woolf)
Chloe Wise – we had a traumatic threeway

http://daata-editions.com

@daataeditions

 

 

 

The 2nd Royal College of Psychiatrists Artists Video Commission

The 2nd Royal College of Psychiatrists Artists Video Commission
Curated by David Gryn, Daata Editions / Artprojx and Curator Film, Art Basel in Miami Beach.

Artists: Ranu Murkerkjee, Orson Sieverding, Terry Smith

Ranu Mukherjee – Chimeric (dogowl living on the edge of free trade zone), 2015

Chimeric (dogowl living on the edge of free trade zone) is a 5 minute ‘hybrid film’, focused on the chimeric, as a leading aspect of imaginative experience and urban sensibility. It brings together photographic, painted and digital images, suggesting a fluid and morphing exchange between these often siloed forms of visual culture. In placing a creature, simultaneously fantastical and mundane, against backdrops of contemporary urban development layered on accumulated pasts and bathed in the radiant frequencies of telecommunications, the work is an attempt to visualize a confrontation between two kinds of speculation.

Ranu Mukherjee (MFA Royal College of Art, London & BFA Massachusetts College of Art, Boston) is an artist making animated video works, ink drawing and collage, printed textiles, and collaborative projects that take a variety of forms from audio installation to printed matter. Her works bring material. mythological and political or historical references to bear on each other and explore the construction of culture through creolization, the nomadic, ecology, speculative fiction and the unknown. Solo Exhibitions include the Asian Art Museum San Francisco 2015-16, San Jose Museum of Art, 2012 and Gallery Wendi Norris 2011 and 2013-14. Ranu lives and works in San Fransisco, USA.

Orson Sieverding – Classify, 2015

For “Classify” Orson decided to feature various animals and plants as his protagonists. All of them were filmed in a public aquarium were they are grouped by a specific system of classification. Ignoring the offered system Orson was looking at them in terms of movement, texture and visual appeal. Referencing spectral colours, the animal’s and plant’s extraordinary blues, reds, greens and yellows form a colour system of their own. Filmed with a photographic approach, still and observing, the video almost seems to be a moving slide show.

In his work Orson Sieverding is recombining strategies within the field of sound and vision; focusing on sonic production, selective sampling, sound culture and the deconstruction of documentary categories. Orson lives and works in Berlin and Düsseldorf.

Terry Smith – Day for Night, 2015

The term Day for Night is a set of cinematic techniques used to simulate a night scene while filming in daylight. It is also the title of a 1973 film by Francois Truffaut, where a committed film director struggles to complete his movie while coping with a myriad of crises, personal and professional.

I wanted to make a film that had some relationship to the people and places of the surrounding area. There were many visits and several shoots at different times of the day, from early morning and throughout the day and into night, looking at all aspects, from the tourist at the Tower to the crowded streets of the local markets. But during the editing process, I decided to focus on just two moments, the period between five and nine am when the workers at Barney arrive and begin their early morning shift and late at night, once the office workers had started to slowly drift home. So the film is a kind of bookend to the beginning and end of the day.

Terry Smith (born 1956) is a British-born artist living in London and Folkestone, England. In 2008, Smith was a recipient of the Paul Hamlyn Award. He is exhibited throughout the world in museums and galleries including the British Museum, The Fogg Museum in Boston and The Drawing Center in New York in 2012.

–
David Gryn – Curator for RCP Video Art Project

David Gryn is the director of Artprojx, screening, curating, promoting and lecturing on artists’ moving image, working with leading contemporary artists, art galleries, museums, art fairs, art schools and film festivals worldwide. In 2015 Gryn launched the online platform Daata Editions that commissions artists’ video, sound and web artworks. David is also the Curator of Film and Sound for Art Basel in Miami Beach.

The RCP Foyer Screen featuring these artworks is visible to all visitors. Open daily from 8am until 6pm. But let the reception know why you are in the building.

Royal College of Psychiatrists

21 Prescot Street
London
E1 8BB

 

Film and Sound at Art Basel in Miami Beach 2015

 

Howardina Pindell, Free, White and 21, 1980. Garth Greenan Gallery

Our Hidden Futures
Film at Art Basel in Miami Beach 2015
The Artists Surround Sound Project
Curated by David Gryn of Daata Editions and Artprojx
SoundScape Park, New World Center, Miami Beach
December 2-5, 2015 from 6pm

https://www.artbasel.com/miami-beach/

FREE

Dates and Schedule:

Wed, Dec 2
9am New World Symphony Insights Talk with David Gryn and artists Sofie Alsbo, Alice Jacobs, Jillian Mayer, Mariele Neudecker and moderated by Dennis Scholl.

6pm Surround sound work by artist Mariele Neudecker

Artist Film program
8pm Fairy Doll; 58 mins. Artists: Rineke Dijkstra, Kenyatta A.C. Hinkle, Carla Chaim, Anna K.E. & Florian Meisenberg, Anna Maria Maiolino, Howardena Pindell.

9pm Speak Easy; 78 mins. Artists: Simone Leigh & Liz Magic Laser with Alicia Hall Moran, Jumana Manna, JoAnn Verburg, Melanie Smith with Rafael Ortega, Marinella Senatore, Catherine Sullivan, Ann-Sofi Sidén in collaboration with Jonathan Bepler.

Thurs Dec 3
6pm Surround sound work by artist Sofie Alsbo

Artist Film program
9pm Afterward via Fantasia; 60 mins. Artists: Catherine Sullivan with George Lewis and Sean Griffin,

10pm Sea of Silence; 56 mins. Artists: Marnie Weber, Camille Henrot, Shirazeh Houshiary, Cauleen Smith, Minnette Vári, Tracey Emin, Nikki S. Lee.

Fri, Dec 4
6pm Surround sound work by artist Camille Norment

Artist Film program
8pm Duet; 45 mins. Artists: Janet Biggs, Zanele Muholi, Nicola Thomas, Talia Chetrit, Sue de Beer.

9pm Snow Job; 62 mins. Artists: Berna Reale, Shana Moulton, Mary Reid Kelley, Barbara Hammer, Diana Thater, Chloe Wise & Claire Christerson, Ida Applebroog, Breda Beban, Judith Hopf.

Sat, Dec 5
2pm Salon talk – The Artists Surround Sound Project
Moderator: David Gryn, artists: Sofie Alsbo, Alice Jacobs, Mariele Neudecker, Camille Norment

6pm Surround sound work by artist Alice Jacobs

Artist Film program
8pm Vanishing Point; 58 mins; Artist: Breda Beban, María Fernanda Cardoso, Janet Biggs, Fritzia Irizar, Suzanne Harris, Anna Barham, Guan Xiao, Susanne M. Winterling, Pia Camil, Cornelia Parker.

9pm Bikini Carwash; 52 mins; the seven works in this program will explore the great outdoors, capturing urban and rural encounters. Artists: Liz Cohen, Marnie Weber, Jaki Irvine, Micol Assaël, Kristin Oppenheim, Cauleen Smith, Milena Bonilla.

LINKS

Art Basel in Miami Beach in 2015 http://artbasel.com/miami-beach

David Gryn / Artprojx blog https://davidgryn.wordpress.com/

New World Symphony http://www.nws.edu/events-tickets/concerts/insights-artists-film-and-sound-with-david-gryn/

5 Questions with Daata Editions – Elephant Magazine

Charles Richardson – Extra

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

Film and Sound at Art Basel in Miami Beach at SoundScape Park

Sue de Beer – The Blue Lenses

Our Hidden Futures

Film at Art Basel in Miami Beach 2015

and

The Artists Surround Sound Project

Curated by David Gryn of Daata Editions and Artprojx

SoundScape Park, New World Center, Miami Beach

December 2-5, 2015 from 6pm

FREE

Film 

Artists: Ida Applebroog, Micol Assaël, Anna Barham, Breda Beban, Sue de Beer, Janet Biggs, Pia Camil, María Fernanda Cardoso, Carla Chaim, Talia Chetrit, Liz Cohen, Rineke Dijkstra, Tracey Emin, Barbara Hammer, Suzanne Harris, Camille Henrot, Kenyatta A.C. Hinkle, Judith Hopf, Shirazeh Houshiary, Fritzia Irizar, Jaki Irvine, Anna K.E. & Florian Meisenberg, Nikki S. Lee, Simone Leigh & Liz Magic Laser with Alicia Hall Moran, Anna Maria Maiolino, Jumana Manna, Shana Moulton, Zanele Muholi, Kristin Oppenheim with Don Maclean, Cornelia Parker, Howardena Pindell, Berna Reale, Mary Reid Kelley, Marinella Senatore, Ann-Sofi Sidén and Jonathan Bepler, Cauleen Smith, Melanie Smith with Rafael Ortega, Catherine Sullivan with George Lewis and Sean Griffin, Diana Thater, Nicola Thomas, Minnette Vári, JoAnn Verburg, Marnie Weber, Susanne M. Winterling, Chloe Wise & Claire Christerson, Guan Xiao.

Sound

Artists: Sofie Alsbo, Alice Jacobs, Mariele Neudecker, Camille Norment.

Galleries 

303 Gallery, Galeria Raquel Arnaud, Arredondo \ Arozarena, Marianne Boesky Gallery, mor charpentier, Pilar Corrias, CRG Gallery, Corbett vs. Dempsey, Goodman Gallery, Marian Goodman Gallery, Garth Greenan Gallery, Gavlak Gallery, Rhona Hoffman Gallery, Sies + Höke, Jenkins Johnson Gallery, Kalfayan Galleries, Kerlin Gallery, Galerie König, KOW, Simon Lee Gallery, Pace/MacGill Gallery, Lehmann Maupin, kamel mennour, Galerie Nordenhake, OMR, One and J. Gallery, Peres Projects, Metro Pictures, kaufmann repetto, Casas Riegner, Galeria Nara Roesler, Salon 94, Sicardi Gallery, Jessica Silverman Gallery, Galerie Gregor Staiger, Stevenson, Simone Subal Gallery, Galerie Barbara Thumm, Cristin Tierney Gallery, Tilton Gallery, Hauser & Wirth, Kraupa-Tuskany Zeidler, ZERO…

–

The New World Center’s projection wall will be home to a selection of this year’s premiere program of films and videos titled “Our Hidden Futures.” Curated by Art Basel film curator David Gryn, Director of Daata Editions and London’s Artprojx, the lineup will highlight an international selection of emerging and established artists, encompassing a range of moving image works that illustrate the breadth of these various analogue and digital mediums.

Join us for these events in SoundScape Park. For detailed information about each event, please click here or click on the image for each program.

Wednesday, December 2

6pm | Sound work
Mariele Neudecker, Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), 2015, Galerie Barbara Thumm

8pm and 9pm | Short Film programs 

Rineke Dijkstra – Marianna (The Fairy Doll)

Fairy Doll; Running time approximately 58’; the 2015 Film program will open with a selection of short works in which artists focus on single portrait to reveal nuances of the human condition.

Rineke Dijkstra, Kenyatta A.C. Hinkle, Carla Chaim, Anna K.E. & Florian Meisenberg, Anna Maria Maiolino, Howardena Pindell.

Marinella Senatore – Speak Easy

Speak Easy; Running time approximately 78’; Speak Easy will consider the artistic use of the creative, the audience, and the allure of the arena, the theater and the theatrical to explore the unsaid or unsayable.

Simone Leigh & Liz Magic Laser with Alicia Hall Moran, Jumana Manna, JoAnn Verburg, Melanie Smith with Rafael Ortega, Marinella Senatore, Catherine Sullivan, Ann-Sofi Sidén in collaboration with Jonathan Bepler.

Thursday, December 3

6pm | Sound work

Sofie Alsbo, Close Encounter, 2015, courtesy of the artist

9pm and 10pm | Short Film programs

Catherine Sullivan – Afterward via Fantasia

Afterward Via Fantasia; Catherine Sullivan with George Lewis and Sean Griffin, Afterword via Fantasia, 2015, 60ʹ, Metro Pictures

Marnie Weber – Sea of Silence

Sea of Silence; Running time approximately 56’; works within Sea of Silence reflect on the poetic silence of the absent and, in so doing, create a louder and much more visceral language.

Marnie Weber, Camille Henrot, Shirazeh Houshiary, Cauleen Smith, Minnette Vári, Tracey Emin, Nikki S. Lee.

Friday, December 4

6pm | Sound work

Camille Norment, Toll – Dissonant Image, (Re-mixed and mastered from 2011 version of Toll), 2015, courtesy of the artist

8pm and 9pm | Short Film programs

Janet Biggs – Duet

Duet; Running time approximately 45’; Duet will present artworks that embody pairs, the split screen, duos and unions, which are found in the style of the film, the artistic process or within the narrative.

Janet Biggs, Zanele Muholi, Nicola Thomas, Talia Chetrit, Sue de Beer.

Barbara Hammer – Snow Job

Snow Job; Running time approximately 62’; selected works in Snow Job use satire to communicate messages that engage and humor us.

Berna Reale, Shana Moulton, Mary Reid Kelley, Barbara Hammer, Diana Thater, Chloe Wise & Claire Christerson, Ida Applebroog, Breda Beban, Judith Hopf.

Saturday, December 5

6pm | Sound work

Alice Jacobs, The Intent I Owe, 2015, courtesy of the artist

8pm and 9pm | Short Film programs

Janet Biggs – Vanishing Point

Vanishing Point; Running time approximately 58’; Vanishing Point will feature a selection of artworks which employ kinetic and choreographed movement to investigate the factory, machines, and the futility of war, as well as the demise of manufacturing and its consequences.

Breda Beban, María Fernanda Cardoso, Janet Biggs, Fritzia Irizar, Suzanne Harris, Anna Barham, Guan Xiao, Susanne M. Winterling, Pia Camil, Cornelia Parker.

Bikini Carwash; Running time approximately 52’; the seven works in this program will explore the great outdoors, capturing urban and rural encounters.

Liz Cohen, Marnie Weber, Jaki Irvine, Micol Assaël, Kristin Oppenheim, Cauleen Smith, Milena Bonilla.

LINKS

For the full list of films featured at Art Basel in Miami Beach in 2015, please visit artbasel.com/miami-beach/film

ABMB 2015 Film Trailer https://youtu.be/aqgSICzFuuc

Artlyst http://www.artlyst.com/articles/art-basel-announces-2015-film-programme-for-miami-beach-fair

ARTnews http://www.artnews.com/2015/10/23/art-basel-miami-beach-2015-announces-film-program/

Artlyst on Talks program http://www.artlyst.com/articles/artists-and-art-professionals-lead-talks-programme-at-art-basel-miami-2015

New World Symphony Insights Talk http://www.nws.edu/events-tickets/concerts/insights-artists-film-and-sound-with-david-gryn/

Soundcloud tracks https://soundcloud.com/david-gryn/sets/the-artists-surround-sound

New World Symphony https://www.nws.edu/events-tickets/art-basel-at-soundscape-park/

Daata Editions Screening at David Risley Gallery, Copenhagen 12 Nov

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

A Daata Editions Screening
at
David Risley Gallery

Screening & Drinks Event
Thursday 12 November 6-8pm

at
David Risley Gallery
Bispevej 29
2400, Copenhagen NV
Denmark
+45 26 16 36 71
info@davidrisleygallery.com
davidrisleygallery.com

Facebook Event https://www.facebook.com/events/193768450956268/

David Gryn of Daata Editions and David Risley are delighted to invite you to a screening of works from the Daata Editions 3rd Artwork Release from Season One. The event will be introduced by David Gryn during this special event hosted by David Risley Gallery.

The artworks are available now http://daata-editions.com

Daata Editions Season One Artists:
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.

The screening coincides with the last few days of

Charlie Roberts – JUICY XXL at David Risley Gallery

and

CPH/DOX.

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

–

RECENT LINKS:

POSTmatter Calendar http://postmatter.com/#/daily/month/0

Apollo Magazine on the Hammer Museum Acquisition http://www.apollo-magazine.com/acquisitions-of-the-month-october/

New York Times on Daata Editions http://www.nytimes.com/2015/10/14/arts/international/website-gives-stage-to-new-media-artists.html

The Artists Surround Sound Project – Art Basel in Miami Beach 2015

SoundScape Park during Film at Art Basel in Miami Beach curated by David Gryn (from the 2013 screening of Mickalene Thomas, Happy Birthday to a Beautiful Woman: A Portrait of My Mother). Image: courtesy Art Basel

The Artists Surround Sound Project

Film at Art Basel in Miami Beach 2015

Sofie Alsbo, Alice Jacobs, Mariele Neudecker, Camille Norment

Curated and organised by David Gryn of Daata Editions and Artprojx worldwide

SoundScape Park, New World Center, Miami Beach

December 2-5, 2015 at 6pm

FREE

Soundcloud trackshttps://soundcloud.com/david-gryn/sets/the-artists-surround-sound

New World Symphony https://www.nws.edu/events-tickets/art-basel-at-soundscape-park/

Facebook event https://www.facebook.com/events/140052276352255/

Talk at the New World Symphony – http://www.nws.edu/events-tickets/concerts/insights-artists-film-and-sound-with-david-gryn/

Wednesday, December 2: Mariele Neudecker

Thursday, December 3:  Sofie Alsbo

Friday, December 4: Camille Norment

Saturday, December 5: Alice Jacobs

–

Every evening at 6pm during Art Basel in Miami Beach, prior to the Film program, sound works by Sofie Alsbo, Alice Jacobs, Mariele Neudecker and Camille Norment will be presented at 6pm (until 8pm) on the state-of-the art surround sound system with its 160 speakers in SoundScape Park.

Nothing is going to sound quite like this …

–

Art Basel in Miami Beach – Talks Program

Salon talks panel (full talks program pdf)

Saturday, December 5, 2015, 2pm to 3pm

The Artists Surround Sound Project
Mariele Neudecker, Camille Norment, Sophie Alsbo, Alice Jacobs
Moderator: David Gryn, Curator of Art Basel’s Film sector and Founder of Daata Edition and Artprojx

Sofie Alsbo, Close Encounter, 2015

Sofie Alsbo

Close Encounter (2015)

Close Encounter (2015) is a surround sound piece made specifically for Miami Soundscape Park as part of Surround Sound Artists Project.

Signals reaching for a wave. Roaming. Vibrations and heartbeats. Clap. A drone that bites its own tail. A circulating loop around the crowd. The body in a mass. Clap. Close Encounter enters the arena with sporadic fragments as the soundscape sway in the contrast of the physicality and transparency of the presence of sound.

Sofie Alsbo (b. 1982, Denmark) received a BA in Fine Art from Central St. Martins UAL and a Postgraduate Diploma from The Royal Academy Schools in London. Working with video, animation and sound a relationship between technology and the human body is explored as the work focuses on the pull between the internal and external space of the body and mind.

credits:

Pete Jones Music

Arge
Sound Designer
Envy Post Production

James
Producer
Envy Post Production

www.sofiealsbo.com

Alice Jacobs, The Intent I Owe, 2015

Alice Jacobs

The Intent I Owe, 2015

Alter our fear, you frown me,

With her, with her, will feel form.

How dear and fairs, and soul, won’t be.

So kind, giving of being, inhabited here,

She laughed in dear o mourning.

For plans hath loved so grow,

For you, sigh and frown, whore again,

On hold, for hell or high, bitter end,

Alter our fear.

Alter our fear, who, bears flight,

When here, descend our endeavours,

So last, untold and shouts bear down.

Mere time near heart and first once stood,

Don’t lie, the bruise in the family,

In deed, were told fairs and cold.

Oh mother, her again, her screaming!

Oh you, frown hiding by our lost youth,

Alter our fear.

All men here, right, men now,

Dear here, it wont hurt to hold them,

One died, is how this all turned out.

Stay close, and hear the mothers womb,

Her voice still shakes, but I warned her,

The wounds, will hide across her face.

Dear you, only the holy shall save you,

Take care, this fear and thought of you,

Ave Maria!

The Intent I Owe, (2015) is based on Ave Maria by Schubert. Originally sung in German, here the lyrics have been transposed into an English poem. The harmonic sounds focus on religious notations of women, the iconic figure of Madonna and, by contrast, how in reality, men perceive the female as mother and sex object.

Alice Jacobs (b 1992, London) MA Royal Collage of Art (2017). BA (Hons) Central Saint Martins (2015). Uniwersytet Artystyczny w Poznaniu (2014). Jacobs addresses a feminist perspective to create a platform for the female gaze via performance, sound and sculptural media. She is interested in the visual representation of gender interaction as delineated by a patriarchal society.

Credits:

Theo Zeal, Sound Producer, UK

Milly Forrest, Voice, Royal Academy of Music, UK

Rodrigo Canas, Royal Collage of Art, UK

Louis Dowdeswell, Assistant Sound Engineer, UK

http://www.a-vaj.co.uk/

Mariele Neudecker, Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), for 5.1 surround, 16 minutes looped, 2015 (courtesy Galerie Barbara Thumm, Berlin, Germany) PHOTO: Laurie Lax

Mariele Neudecker

Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), for 5.1 surround, 16 minutes looped, 2015 (courtesy Galerie Barbara Thumm, Berlin, Germany)

’Figure of 8’ aims to create a soundscape that is artificially collaged from 3-dimensional sound-recordings that, at the time of capture, observed and co-responded with the circadian rhythm of the place. The sound implies and animates a physical shift through a physical space and a horizontal timeline, a sound experience of ‘a night in the jungle’.  Going beyond the image, Neudecker, at times, works with classical music and ‘sound data’, exploring the pathos and evocative power of ‘audio’ that is rooted in ‘ground truth’, a term used in remote sensing to describe data collected on location. In this particular location: no image, moving or still, can possibly capture what the sound manages to convey. Tiputini Biodiversity Station [Ecuador] where these recordings were taken – for a permanent, commissioned work for the new Cancer Centre at Guy’s Hospital, London, which is due to open late 2016 – is one of the most bio-diverse forests in the world. Its sounds never stop.

Mariele Neudecker [b.1965 Germany] lives and works in Bristol, UK and uses a broad range of media including sculpture, film, photography as well as sound. Her works have been exhibited widely internationally both in group- and solo-exhibitions. Her practice investigates the formation and historical dissemination of cultural constructs around the natural world and notion of a Contemporary Sublime. Neudecker often uses technology’s virtual capabilities in order to reproduce a heightened experience of nature & landscape, thus addressing the subjective and mediated condition of any first hand encounter.

credits:

Guy’s & St Thomas’ NHS Foundation Trust, London, UK

Guy’s & St Thomas’ Charity, London, UK

Futurecity, London, UK

Bath Spa University, Bath, UK

Laurie Lax and John Taylor, Bristol and Bath, UK

Jan Meinema, Creative Music Technology @ Bath Spa University, UK

Manus Pitt, BBC Natural History Unit, Bristol, UK

Tiputini Biodiversity Research Station, Universidad San Francisco de Quito, Ecuador

www.marieleneudecker.co.uk

www.bthumm.de

Camille Norment, Toll – Dissonant Image
 (Re-mixed and mastered from Toll, 2011 for 5.1 surround), 2015

Camille Norment

Toll – Dissonant Image
(Re-mixed and mastered from Toll, 2011 for 5.1 surround), 2015

Three instruments – the rare glass armonica, the Norwegian Hardanger fiddle, and the electric guitar – each, once banned for fear of the psychological, physical, or social effects they had on the body – come together in a visceral soundscape of resonance and overtone that levels beauty and noise. The title composition was influenced by Arvo Pärt’s “Fratres,” meaning ‘brotherhood,’ and puts the notion of social harmony and dissonance to question through lulling, taunting, and abrasive textures.The enveloping sonic image invokes the instruments’ relationships to notions of magic and the uncanny, hypnosis and trance, and noise as a psychological atmosphere. The powerful sonic worlds they create resonate through a tantalizing union of the instruments’ voices and their paradoxical cultural histories.

The work of artist Camille Norment guides an investigation of socio-cultural phenomena through particular instances and significations of sound and music. The aim is to produce critical artworks that are equally occupied with experiential form, and conceptual narrative.  There is a particular interest in both sonic and socio-cultural tension – parallels of dissonance – and an underlying interest in the physiological effects of sound on the body that may exceed the cultural boundaries of perception.

http://www.norment.net/

–

David Gryn

Curator Film and Sound at Art Basel in Miami Beach

Director, Daata Editions and Artprojx

http://daata-editions.com

http://artprojx.com

http://artbasel.com

https://davidgryn.wordpress.com

Film at Art Basel in Miami Beach 2015 – Our Hidden Futures

Chloe Wise & Claire Christerson, Greece, 2015, 3′, courtesy of the artists

Our Hidden Futures

Film: Art Basel announces 2015 program for Miami Beach

Curated by David Gryn, Daata Editions and Artprojx

Film Trailer

– ART BASEL PRESS RELEASE MIAMI BEACH | OCTOBER 23 | 2015

From December 2 through 6, 2015, Art Basel will present a premier program of over 50 films and videos by and about artists selected under the title ‘Our Hidden Futures’. Screened on the 7,000-square-foot outdoor projection wall of the New World Center, the program is again curated by David Gryn, Director of Daata Editions and London’s Artprojx.

First-time Art Basel film curator Marian Masone, Senior Programming Advisor at the Film Society of Lincoln Center in New York has selected the feature-length film ‘Troublemakers – The Story of Land Art’ (2015) by filmmaker James Crump for a special screening at the Colony Theatre on Friday, December 4.

Gryn’s program of film and video works, drawn from the show’s participating galleries, will include work by Ida Applebroog, Anna Barham, Breda Beban, Janet Biggs, Sue de Beer, Rineke Dijkstra, Tracey Emin, Barbara Hammer, Shirazeh Houshiary, Jaki Irvine, Anna K.E. & Florian Meisenberg, Jumana Manna, Howardena Pindell, Cauleen Smith, Catherine Sullivan, and Marnie Weber.

Every evening, in addition to the Film program, sound works by Sofie Alsbo, Alice Jacobs, Mariele Neudecker and Camille Norment will be presented on the state-of-the arts surround sound system in SoundScape Park, curated by David Gryn. In conjunction with the outdoor film screenings, over 80 works have been selected to be shown within a designated Film Library at the Art Basel fair, whose Lead Partner is UBS.

Returning for his fifth year with Art Basel, curator David Gryn’s selection of works for Film will explore the history and future path of moving image artworks. Framed under the title ‘Our Hidden Futures’, the lineup will highlight an international selection of emerging and established artists, encompassing a range of moving image works that illustrate the breadth of these various analogue and digital mediums.

On Saturday, December 5 at 2pm, Art Basel’s Salon program will feature ‘The Artists
Surround Sound Project’ a talk between Art Basel film curator David Gryn and the artists
Sophie Alsbo, Alice Jacobs, Mariele Neudecker and Camille Norment. Art Basel
entry tickets include admission to the Salon.

For the full list of films featured at Art Basel in Miami Beach in 2015, please visit artbasel.com/miami-beach/film

– GENERAL INFORMATION

Daily (December 2 – 6)

Miami Beach Convention Center Film Library

In conjunction with the outdoor program, over 80 selected works will be presented on six touch-screen monitors within the Film Library at Art Basel’s show during show hours. Access with a show entrance ticket.

Nightly (December 2 – 5)

SoundScape Park Evening Film Program

Outdoor screenings will take place in SoundScape Park on the 7,000-square-foot outdoor projection wall of the New World Center, a three-minute walk from the Miami Beach Convention Center. Admission to Film at SoundScape Park is free. Visitors are encouraged to bring blankets and lawn chairs.

Every evening from 6pm to the start of the first film screening, sound works by different artists, curated by David Gryn, will be presented in SoundScape Park: Weds, Dec 2: Mariele Neudecker / Thurs, Dec 3:  Sofie Alsbo / Fri, Dec 4: Camille Norment / Sat, Dec 5: Alice Jacobs. Free public access, seating is limited – bring a blanket or lawn chair.

– 2015 FILM PROGRAM

Wednesday, December 2, 2015

6pm | Sound work

Mariele Neudecker, Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), 2015, Galerie Barbara Thumm

–

8pm | Short Film program | Fairy Doll

Running time approximately 58’; selected by David Gryn

The 2015 Film program will open with a selection of short works in which artists focus on a single portrait to draw out the nuances of what it means to be human.

Rineke Dijkstra, Marianna (The Fairy Doll), 2014, 19’13”, Marian Goodman Gallery

Kenyatta A.C. Hinkle, The Countermand, 2014, 9’48”, Jenkins Johnson Gallery

Carla Chaim, Lua Certa, 2011, 1’03”, Galeria Raquel Arnaud

Anna K.E. & Florian Meisenberg, Late Checkout (Part II), 2015, 9’58”, Simone Subal Gallery

Anna Maria Maiolino, Um Momento, Por Favor, 1999/2004, 4’30”, Hauser & Wirth

Howardena Pindell, Free, White and 21, 1980, 12’15”, Garth Greenan Gallery

–

9pm | Short Film program | Speak Easy

Running time approximately 78’; selected by David Gryn

‘Speak Easy’ will consider the artistic use of the creative, the audience, and the allure of the arena, the theater and the theatrical to explore the unsaid or unsayable.

Simone Leigh & Liz Magic Laser with Alicia Hall Moran, Breakdown, 2011, 9’46”, Tilton Gallery

Jumana Manna, A Sketch of Manners (Alfred Roch’s Last Masquerade), 2013, 12′, CRG Gallery

JoAnn Verburg, Watching Trisha Brown, 2015, 2’40”, Pace/MacGill Gallery

Melanie Smith with Rafael Ortega, Aztec Stadium. Malleable Deed, 2010, 10’29”, Sicardi Gallery

Marinella Senatore, Speak Easy, 2009, 15′, Peres Projects

Catherine Sullivan, Triangle of Need (Olympian and Doves), 2007, 8’22”, Metro Pictures

Ann-Sofi Sidén in collaboration with Jonathan Bepler, Curtain Callers, 2011, 20′, Galerie Barbara Thumm

–

Thursday, December 3, 2015

6pm | Sound work

Sofie Alsbo, Close Encounter, 2015, , courtesy of the artist

–

9pm | Afterward Via Fantasia

Catherine Sullivan with George Lewis and Sean Griffin, Afterword via Fantasia, 2015, 60ʹ, Metro Pictures

Catherine Sullivan’s film, ‘Afterword Via Fantasia’, is conceived within the framework of an opera written by composer George Lewis and co-directed by Sullivan and longtime collaborator Sean Griffin. Sullivan transposes material from Lewis’s libretto into a series of scenes shot on sets for other plays with parallel and divergent social and cultural themes. The opera and film are based on Lewis’s widely-acclaimed book A Power Stronger Than Itself: The AACM (Association for the Advancement of Creative Musicians) and American Experimental Music. The AACM has long played a key role in American experimental music, forging new models of black identity and social activism.

–

10pm | Short Film program | Sea of Silence

Running time approximately 56’; selected by David Gryn

Works within ‘Sea of Silence’ reflect on the poetic silence of the absent and, in so doing, create a louder and much more visceral language.

Marnie Weber, Sea of Silence, 2009, 14’15”, Gavlak Gallery / Simon Lee Gallery

Camille Henrot, Million Dollars Point, 2011, 5’35”, Galerie König / kamel mennour

Shirazeh Houshiary, Dust, 2011-2013, 7’08”, Lehmann Maupin

Cauleen Smith, Crow Requiem, 2015, 11′, Corbett vs. Dempsey

Minnette Vári, Quake, 2007, 6’23”, Goodman Gallery

Tracey Emin, Love Never Wanted Me, 2013, 2’48”, Lehmann Maupin

Nikki S. Lee, Yours, 2015, 8’41”, One and J. Gallery

–

Friday, December 4

6pm | Sound work

Camille Norment, Toll – Dissonant Image, (Re-mixed and mastered from 2011 version of Toll), 2015, courtesy of the artist

–

8pm | Short Film program | Duet

Running time approximately 45’; selected by David Gryn

‘Duet’ will present artworks that embody pairs, the split screen, duos and unions, which are found in the style of the film, the artistic process or within the narrative.

Janet Biggs, Duet, 2010, 6’47”, Cristin Tierney Gallery

Zanele Muholi, Ayanda & Nhlanhla Moremi’s Wedding, 2013, 11’50”, Stevenson

Nicola Thomas, S-time, 2015, 3’53”, courtesy of the artist

Talia Chetrit, Parents, 2014, 9’44, Sies + Höke, kaufmann repetto

Nicola Thomas, Julian in two parts, 2015 2’02”, courtesy of the artist

Sue de Beer, The Blue Lenses, 2014, 19’03”, Marianne Boesky Gallery

–

9pm | Short Film program | Snow Job

Running time approximately 62’; selected by David Gryn

Selected works in ‘Snow Job’ use satire to communicate messages that engage and humor us.

Berna Reale, Cantando na Chuva (Singing in the Rain), 2014, 4’15”, Galeria Nara Roesler

Shana Moulton, MindPlace ThoughtStream, 2014, 11’57”, Galerie Gregor Staiger

Mary Reid Kelley, Camel Toe, 2008, 1’25”, Pilar Corrias

Barbara Hammer, Snow Job: The Media Hysteria of Aids, 1986, 7’44”, KOW

Diana Thater, Male Gyr-Peregrine Falcon (Grim), 2012, 30”, Hauser & Wirth

Chloe Wise & Claire Christerson, Greece, 2015, 3′, courtesy of the artists

Ida Applebroog, It’s No Use Alberto, 1978, 9’36”, Hauser & Wirth

Breda Beban, Jason’s Dream, 1997, 10′, courtesy of the artist’s estate & Kalfayan Galleries

Mary Reid Kelley, Swinburne’s Pasiphae, 2014, 8’58’, Pilar Corrias

Judith Hopf, Lily´s Laptop, 2013, 5’29”, kaufmann repetto

–

8:30 pm | James Crump, Troublemakers – The Story of Land Art, 2015

Special Film Screening at Colony Theatre, 1040 Lincoln Road, Miami Beach

Running time 72ʹ; selected by Marian Masone

Troublemakers – The Story of Land Art, 2015 unearths the history of land art in the tumultuous late 1960s and early 1970s. Focused on a cadre of renegade New York artists that sought to transcend the limitations of painting and sculpture by producing earthworks on a monumental scale in the desolate desert spaces of the American southwest, the film includes rare footage and interviews with artists such as Robert Smithson (Spiral Jetty), Walter De Maria (The Lightning Field) and Michael Heizer (Double Negative). The screening is followed by a panel discussion between the movie’s Director James Crump and Art Basel Film co-curator Marian Masone.

–

Saturday, December 5, 2015

6pm | Sound work

Alice Jacobs, The Intent I Owe, 2015, courtesy of the artist

–

8pm | Short Film program | Vanishing Point 

Running time approximately 58’; selected by David Gryn

‘Vanishing Point’ will feature a selection of artworks which employ kinetic and choreographed movement to investigate the factory, machines, and the futility of war, as well as the demise of manufacturing and its consequences.

Breda Beban, Let’s call it love, 2000, 7’30’’, artist’s estate, Kalfayan Galleries

María Fernanda Cardoso, On the Origins of Art: Maratus Volans, Male and Female, Artists, 2015, 3’13”, Casas Riegner

Janet Biggs, Vanishing Point, 2009, 10’32”, Cristin Tierney Gallery

Fritzia Irizar, Sin título (requiem JMAF), 2015, 4’19”, Arredondo \ Arozarena

Suzanne Harris, The Wheels / Flying Machine, 1973, 5’47”, Rhona Hoffman Gallery

Anna Barham, The squid that hid, 2015, 5’05”, Galerie Nordenhake

Guan Xiao, Hidden Track, 2015, 4’51”, Kraupa-Tuskany Zeidler

Susanne M. Winterling, Immersion Vertex (Prototyp Diadem), 2’22”, 2014, Jessica Silverman Gallery

Pia Camil, No A Trio A, 2013, 7’31”, OMR

Cornelia Parker, War Machine, 2015, 9’25”, courtesy of the artist and Frith Street Gallery

–

9pm | Bikini Carwash

Running time approximately 52’; selected by David Gryn

The seven works in this program will explore the great outdoors, capturing urban and rural encounters.

Liz Cohen, Bikini Carwash, 2002, 5’58”, Salon 94

Marnie Weber, Songs Hurt Me, 1994, 2′, Gavlak Gallery / Simon Lee Gallery

Jaki Irvine, Se Compra: Sin é, 2014, 17’37”, Kerlin Gallery

Micol Assaël, Overstrain, 2012, 3′, ZERO…

Kristin Oppenheim, Ultramarine, 2015, 7’43”, in collaboration with Don Maclean, 303 Gallery

Cauleen Smith, H-E-L-L-O, 2014, 11′, Corbett vs. Dempsey

Milena Bonilla, Ceremony for a Homogeneous Landscape, 2009, 2’34”, mor charpentier

RELATED LINKS

New World Symphony https://www.nws.edu/events-tickets/art-basel-at-soundscape-park/

Artlyst http://www.artlyst.com/articles/art-basel-announces-2015-film-programme-for-miami-beach-fair

ARTnews http://www.artnews.com/2015/10/23/art-basel-miami-beach-2015-announces-film-program/

Artlyst on Talks program http://www.artlyst.com/articles/artists-and-art-professionals-lead-talks-programme-at-art-basel-miami-2015

Buro on Nikki S. Lee http://www.buro247.sg/culture/news/art-basel-2015-program-for-miami-beach.html

– NOTES TO EDITORS

About the Curators

David Gryn

David Gryn is the founder and director of Daata Editions, a new online platform commissioning artists video, sound and web editioned artworks and director of London’s Artprojx, screening, curating, promoting and lecturing on artists’ moving image and other art projects, working with leading contemporary artists, art galleries, museums, art fairs, art schools and film festivals worldwide.

Marian Masone

Marian Masone is a film curator, lecturer and writer based in New York. For over 20 years Masone has worked at The Film Society of Lincoln Center, America’s pre-eminent film organization. She sits on the selection committees for two of The Film Society’s most prestigious festivals: ‘The New York Film Festival’ and ‘New Directors/New Films’, a co-production with the Museum of Modern Art in New York. Masone has been a guest lecturer and curator for leading institutions such as Parsons School of Design in New York and Museo Reina Sofia in Madrid. Her writings on film and media have appeared in many leading newspapers and magazines.

About Art Basel

Art Basel stages the world’s premier art shows for Modern and contemporary works, sited in Basel, Miami Beach and Hong Kong. Defined by its host city and region, each show is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. In addition to ambitious stands featuring leading galleries from around the world, each show’s exhibition sectors spotlight the latest developments in the visual arts, offering visitors new ideas, new inspiration and new contacts in the art world.

Partners

UBS, global Lead Partner of Art Basel, has supported the organization for more than 20 years. As Art Basel’s global network has expanded, so too has UBS’s commitment and lead partnership, which includes all three shows in Basel, Miami Beach and Hong Kong. In addition to its support of Art Basel, UBS has a long and substantial record of engagement in contemporary art: as a holder of one of the world’s most distinguished corporate art collections, as an active partner in global contemporary art projects such as the Guggenheim UBS MAP Global Art Initiative, and as a source of information and insights through the UBS Art Competence Center, UBS Arts Forum and its new contemporary art news-focused app, ‘Planet Art’.

Associate Partners Davidoff, the prestigious Swiss cigar brand, Audemars Piguet, the independent high-end watch manufacturer, and NetJets, the world leader in private aviation, support Art Basel across its three shows. Art Basel’s Media Partners are The Financial Times and the Miami Herald, and the VIP car service at the show is by BMW. Long-standing partner AXA ART, the international art insurance specialist, provides VIP guided tours at all shows. For further information on Art Basel’s partners, please visit artbasel.com/partners.

Important Dates for Media

Private View
Wednesday, December 2, 2015, 11am to 8pm (by invitation only)

Vernissage
Thursday, December 3, 2015, 11am to 3pm (by invitation only)

Public Days
Thursday, December 3, 2015, 3pm to 8pm
Friday, December 4, 2015, 12noon to 8pm
Saturday, December 5, 2015, 12noon to 8pm
Sunday, December 6, 2015, 12noon to 6pm

Upcoming Art Basel shows
Hong Kong, March 24 – 26, 2016
Basel, June 16 – 19, 2016

Press accreditation
Online registration for press accreditation is now open and will close on November 13, 2015. Please visit artbasel.com/accreditation.

Media information online

Media information and images can be downloaded directly from artbasel.com/press.

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or follow @artbasel on Instagram, Google+, Twitter, Weibo and Wechat.

Press Contacts

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Tel. +41 58 206 27 06, press@artbasel.com

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PR Representatives for Florida

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PR Representatives for Asia

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