David Gryn blog

Posts Tagged ‘Daata Editions’

Zata Banks FRSA selects new poetry artworks for Daata Editions

In Daata, Daata Editions, daataeditions, Laura Focarazzo, Uncategorized, Zata Banks on 08/02/2017 at 9:01 pm

Daata Editions presents

Laura Focarazzo, Kate Jessop, C.O. Moed, Julian Scordato, Susanne Wiegner, Antoinette Zwirchmayr.

Selected by Zata Banks, FRSA

A short screening and a Q&A with Kate Jessop and Zata Banks, introduced by David Gryn.

The Soho Hotel Screening Room, 4 Richmond Mews, London W1D 3DH

Tuesday 21 February, 2017 at 6.30pm-8pm

Tickets are FREE

Please RSVP by Wed 15 Feb to info@daata-editions.com (as numbers are limited)

Contact: David on +447711127848
http://daata-editions.com

Info
Zata Banks FRSA selects new poetry artworks for Daata Editions with a special launch viewing at The Soho Hotel Screening Room, London. Tues 21 Feb at 6.30pm.

This event has been organised to announce the release of these new artworks on Daata Editions selected by Zata Banks. Artists include: Laura Focarazzo, Kate Jessop, C.O. Moed, Julian Scordato, Susanne Wiegner, Antoinette Zwirchmayr. There will be a short screening along with a Q&A between artist Kate Jessop and curator Zata Banks, introduced by David Gryn.

Zata Banks renowned for her work with PoetryFilm, which she founded in 2002, has curated a selection of artists to make artworks for Daata Editions and its artists’ poetry section.

“Poetry is plural. These six new film artworks interrogate the language of poetry films, exploring the potential for expressing richer meanings through new interpretations of text, sound and image combinations.”

Kate Jessop is an award winning animation filmmaker whose work spans across animated shorts and artist’s film and video. She has exhibited extensively internationally, undertaking artist residencies in Berlin, Istanbul, Reykjavik and Manchester Metropolitan University.

Image still: Kate Jessop, Spinster, 2016

Daata Editions Mix Tape for ACE Hotel Downtown Los Angeles 2017.

In ACE Hotel, ALAC, Art Los Angeles Contemporary, Daata, Daata Editions, daataeditions, Ed Fornieles, Jillian Mayer, Los Angeles, Scott Reeder, Uncategorized, Yung Jake on 26/01/2017 at 9:14 pm

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David Gryn, Director and Curator of Daata Editions, has created a special Daata Editions Mix Tape for play at the ACE Hotel Downtown Los Angeles. Daata are launching new artworks online this week by Yung Jake, Jillian Mayer and Scott Reeder and will be at Art Los Angeles Contemporary at the Barker Hangar, Santa Monica.

Daata – ACE Mix Tape playlist

Electric – Ed Fornieles
Terrorist of Love – Keren Cytter
immature tameka – Tameka Norris
Girlhood – Leo Gabin
Pink Rooms – Hannah Quinlan and Rosie Hastings
How – Yung Jake
Deep Space Mathematics // The Transfer of Knowledge 1 – Zadie Xa
Put Some Respect On My Name – Rashaad Newsome
THE WORSE YOU FEEL THE BETTER I LOOK – Hannah Perry
En Plein Air Abstraction #4 – Jacolby Satterwhite
Bands – Scott Reeder
OM Making it Rain – Takeshi Murata
(Running time 21 mins)

Image: Ed Fornieles, Electric, 2016

Daata Editions in Festive Cultural Traffic

In Artspace, Cultural Traffic, culturaltraffic, Daata, Daata Editions, daataeditions, Festive, juju's bar, keren cytter, old truman brewery, Terrorist of Love, Toby Mott, Uncategorized on 09/12/2016 at 6:42 pm

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Daata in a Festive Mood !

Juju’s Presents: Festive Cultural Traffic

Saturday & Sunday 17-18th December 2016

11am – 8pm Free Entry

Juju’s Bar & Stage

The Old Truman Brewery

London, E1 6QR

Cultural Traffic returns to the Truman Brewery and adjacent Spitalfields Market over the last shopping weekend before Christmas 17-18th December

Festive Cultural Traffic will be offering a broad vivid experience away from the dull predictable mainstream Christmas shopping options. An opportunity to engage with the past present and future of counter culture at an affordable level for that perfect gift.

Cultural Traffic the UK fair for dealers in counter culture, giving independent producers the opportunity to trade books, zines, prints, catalogues, vinyls and tapes in both current and obsolete format.

By bringing together pioneering contemporary publishing with vintage counter culture and out-of-print material, Cultural Traffic paves an express connection between yesterdays cultural artefacts and the latent collectables of tomorrow.

Free and open to all, Cultural Traffic offers the public an opportunity to engage in the past, present, and future of counter culture at an affordable level. And offers vendors the opportunity to capitalise on the amplified busy climate of the last shopping weekend before Christmas.

Cultural Traffic was launched by editor, designer and collector Toby Mott who says: “Cultural Traffic is a fascinating window into the flourishing post-digital zine scene” Mott’s expansive collection of punk ephemera, The Mott Collection has been exhibited widely and his most recent publications are: Oh So Pretty: Punk in Print 1976-80, Phaidon. Showboat: Punk/Sex/Bodies, Dashwood Books and Skinhead: An Archive, Ditto Press.

landscape

EXHIBITERS

Carrie Reichardt, Bob Osborne and Lori Bell

Fanpages

Paul Sakoilsky

Hoxton Mini Press

Morel Books

Niki Best

John Marchant Gallery

Land Fill

Voicing The Void

Design For Today

Walden Press

Batool Showghi

Korero Press

The Erotic Review

L-13 Light Industrial Workshop

Kiki Werth Posters

Disinfotainment

Jo Stockham

Dafydd Jones

The Drugstore Gallery

MAMA Photobooks

Ditto London

Daata Editions

Red Lebanese

Galerie P38

Poptique

Shapiro Modern

The Mott Collection

We Are Willow

Wastamer Press

Quaterduck

Service Industries

Homer Sykes My British Archive

Chalotte Sumner

Wet Satin Press

Grrrl Zine Fair

HYSTERIA

Iain McKell

Polyester

For further info contact;

Culturaltraffic@gmail.com

Culturaltraffic.com

Facebook Event

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Terrorist of Love by Keren Cytter, Available as a FREE DOWNLOAD via Daata X Artspace

Film and Sound at Art Basel in Miami Beach 2016 – Program

In ABMB, Art, Art Basel, Art Basel in Miami Beach, Art Fair, artists, Artprojx, Best Dressed Chicken in Town, Daata, Daata Editions, David Gryn, Film, Film and Video, Film Library, Miami, Miami Beach, New World Center, New World Symphony, SoundScape Park, Uncategorized on 23/11/2016 at 10:18 am

 

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Film & Sound at Art Basel in Miami Beach 2016. 

Curated by David Gryn, Director of Daata Editions. 

Nov 30 – Dec 3. 

Soundscape Park, New World Symphony Center, Miami Beach.

Details:

Weds Nov 30

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

Best Dressed Chicken in Town – a compilation of artworks. 

Tromarama, Psylocibin, 2010, 51ʺ; Edouard Malingue.
Ana Mendieta, Anima, Silueta de Cohetes (Firework Piece), 1976, 2ʹ23ʺ; Lelong
Anri Sala, Mixed Behaviour, 2003, 8ʹ19ʺ; Hauser & Wirth.
Derrick Adams with Ramon Silva, My Jesus Piece, 2014, 2ʹ38ʺ; Rhona Hoffman.
Samson Young, The Coffee Cantata (Institute of Fictional Ethnomusicology), 2015, 6ʹ06ʺ; Edouard Malingue.
Kudzanai Chiurai, Moyo, 2013, 5ʹ33ʺ; Goodman Gallery.
Edgardo Aragón, La encomienda, Perú, 2013, 4ʹ45ʺ; mor charpentier.
Luther Price, Singing Biscuits, 2006, 4ʹ; Callicoon.
Catharina van Eetvelde (with music by To Rococo Rot), Glu, 2007, 2ʹ28ʺ; Greta Meert.
Ara Peterson, Alsatian Darn, 2011, 4ʹ17ʺ; Ratio 3.
Matt Copson, Sob Story, 2016, 5ʹ; High Art.
Martin Creed, Work No. 2656 Understanding, 2016, 3ʹ11ʺ; Hauser & Wirth.
Jillian Mayer, I am Your Grandma, 2011, 1ʹ3ʺ; David Castillo.
Kovásznai György, Memory of the Summer of ‘74, 1974, 9ʹ15ʺ.
Tromarama, Serigala Militia, 2006, 4ʹ22ʺ; Edouard Malingue.
Kim Gordon, Proposal for a Dance, 2012, 12ʹ; 303 Gallery.
Li Shurui and Li Daiguo, The Shelter: All Fears Come from the Unknown Shimmering at the Edge of the World, 2012/2016, 3ʹ09ʺ; White Space Beijing.
Adam Shecter, Study for Satellites 4 (Train), 2016, 1ʹ52ʺ; 11R.
Brian Alfred, Chromacity, 2016, 4ʹ17ʺ; Ameringer McEnery Yohe.
Dashiell Manley, It and another other, 2015, 3ʹ33ʺ; Jessica Silverman.
Haroon Mirza, Adhãn, 2009, 4ʹ54ʺ; Lisson.
Zak Ové, A Land So Far, 2016, 6ʹ30ʺ; Vigo.
Cabelo, Itamambuca Dub, 2014, 4ʹ; Marilia Razuk.
Lena Daly, Trix, 2016, 5ʹ; Various Small Fires.
Nate Boyce, Repossesion Seqeunce II, 2016, 4ʹ30ʺ; Altman Siegel.
Tomislav Gotovac, Ella, 1966, 3ʹ25ʺ; Gregor Podnar.
Rodney Graham, A Little Thought, 2000, 3ʹ54ʺ; Hauser & Wirth.
Keren Cytter, Terrorist of Love, 2016, 3ʹ9ʺ; Nagel Draxler (A Free Downloadable Artwork commissioned by Daata Editions & Artspace)

10pm

Double Bill: Rita Ackermann and Christian Marclay

Rita Ackermann, Movement as Monument, 2011, 22ʹ30ʺ; Hauser & Wirth
Christian Marclay, Mixed Reviews (American Sign Language), 1999/2001, 30ʹ; Paula Cooper

Thurs Dec 1

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

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

10pm

New Parthenon: works by artists: Rashid Johnson, Ain Bailey/Sonia Boyce, Anna Grenman, Alex Prager, Penny Siopis.

Rashid Johnson, The New Black Yoga, 2011, 10ʹ57ʺ; Hauser & Wirth.
Ain Bailey, Sonia Boyce, Oh Adelaide, 7ʹ10ʺ.
Anna Grenman, Irminsul, 2016, 5ʹ.
Alex Prager, La Grande Sortie, 2015, 10ʹ; Lehmann Maupin.
Penny Siopis, The New Parthenon, 2016, 15ʹ26ʺ; Stevenson.

Fri Dec 2 

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

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

10pm

Double Bill: Liliana Porter and Alfredo Jaar

Alfredo Jaar, Muxima, 2005, 36ʹ; Lelong, Goodman Gallery
Liliana Porter, Actualidades/Breaking News, 2016, 22ʹ47ʺ; Sicardi

Sat Dec 3

6pm

Surround Sound artworks in SoundScape Park. A compilation of sound works by Ain Bailey, Zoë Buckman, A.K. Burns, Jonathan Montague, Molly Palmer (supported by The Fountainhead Residency) and Susannah Stark. Soundcloud info

8pm

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

10pm

Love Songs – Four Films by Wilhelm Sasnal

Wilhelm Sasnal, Love Songs, 2005, 10ʹ02ʺ; Anton Kern.
Wilhelm Sasnal, Kiss, 2002–2003, 4ʹ51ʺ; Anton Kern.
Wilhelm Sasnal, Developing Tank, 2015, 14ʹ22ʺ; Anton Kern.
Wilhelm Sasnal, The River, 2005, 23ʹ10ʺ; Anton Kern.

Daily (Nov 30 – Dec 4)

Miami Beach Convention Center Film Library:

In addition to the outdoor program, visitors will be able to individually (touch) screen over 50 works by artists such as Stephen Dean, Edith Dekyndt, Maggie Lee, Gabriel Lester, Shelly Nadashi, Sophie Nys, João Vasco Paiva, Betye Saar, Jason Simon, Su-Mei Tse and Tuo Wang, as well as all the artist listed in the outdoor programs.

The Film Library is next to the Magazine area and opposite the Salon and Conversations auditorium.

Talks:

Tues Nov 29. 11am-12.30pm

Insights at New World Center: The Music in Film & Sound, Art Basel in Miami Beach
Featuring: David Gryn, Kathryn Mikesell, Molly Palmer and John Kieser
New World Center, SunTrust Pavilion. RSVP/Details & Tickets: www.nws.edu/insights

Sun Dec 4. 2-3pm

Artist Talk – Conversations and Salon: Art Basel’s 2016 program in Miami Beach Convention Center, programmed by Mari Spirito. 

The Artist as Composer
Molly Palmer, Artist, London; Susannah Stark, Artist, London; Kathryn Mikesell, Founder, The Fountainhead Residency and Studios, Miami; Rachel Mason, Artist, Los Angeles. Moderator: William J. Simmons, Lecturer in Art History, City College of New York, New York. With an introduction by David Gryn, Curator of Art Basel’s Film sector and Founder of Daata Editions and Artprojx, London. Art Basel Press Release

Some More Links:

Art Basel Miami Beach

New World Symphony 

Time Out Miami

papermag MEGA guide

Art Basel Film Trailer

Fountainhead Residency

Molly Palmer

Daata Editions

 

Saya Woolfalk – All the colours of a rainbow

In Art Basel, Art Basel in Miami Beach, Art Fair, Daata, Daata Editions, daataeditions, digital art, Expo Chicago, POSTmatter, Saya Woolfalk, Uncategorized, Video Art, wetransfer on 15/09/2016 at 8:40 am

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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

The Daata Editions Sound Room at Chart Art Fair, Copenhagen 26-28 Aug

In Chart Art Fair, Copenhagen, Daata, Daata Editions, daataeditions, David Gryn, John Skoog, Sofie Alsbo, Sound, Thora Dolven Balke, Uncategorized on 23/08/2016 at 8:49 pm

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Daata Editions presents

The Daata Editions Sound Room at CHART Art Fair, Copenhagen.

The Sound Room will host newly launched works by

Sofie Alsbo, Thora Dolven Balke, John Skoog.

CHART Art Fair
26 – 28 August

Kunsthal Charlottenburg
Copenhagen

Friday 26 August, 4 – 8pm
Saturday 27 August, 12 – 6pm
Sunday 28 August, 12 – 5pm

More info:
chartartfair.com

daata-editions.com

 

Is Online Art The Future ? Aston Martin feature on Daata Editions

In Amalia Ulman, Art, Art Basel, Aston Martin, Daata, Daata Editions, David Gryn, David Hockney, digital art, Elizabeth Dee, Julia Stoschek, Saya Woolfalk, Scott Reeder, Uncategorized, Zuecca Projects on 08/07/2016 at 10:53 am
Aston Martin Daata Editions

Image: Tracey Emin, I Lay Here, 2016 (courtesy the artist and Daata Editions

 

Art transcends culture, echoes its roots and is integral
to the documentation of the human experience

For an artwork to reflect the musings of its creators, it should ideally be able to naturally adapt. While a ‘physical’ piece of art may be moved or displaced, its very form cannot. The intellectually satisfying aspect of enjoying a painting for example, will come from discovering (or rediscovering) a detail we have missed or overlooked. A brush stroke or a shaft of sunlight can add new meaning to a well-loved piece, without altering it per sae. Since the dawn of the Internet in the 1980s, artists have exploited the laws of this parallel world to create events, images, or to subvert the way we visually absorb information.
Part of the attraction is its global reach, the use of cutting-edge technology and the liberation of art from the constraints of traditional wealth-creating establishments such as commercial galleries, auction houses, private collectors and public museums. Then there’s how we as viewers actually relate to virtual or digital art and one of the most exciting features of a digital piece of art is that it is ever changing. While we may be familiar with its initial subject, it will surprise us as it moves and transforms, inviting us to engage.

Though digital pieces have found a home in some of the art world’s most heavyweight institutions, many collectors still need convincing.

Enter Daata Editions: an online gallery utterly dedicated to video, sound and web art, launched in May 2015, showcasing artists’ video, sound, web and poetry works, available to view and acquire on the website as digital downloads in limited editions. Featured on Daata Editions is Argentinian-born Spanish Artist Amalia Ulman whose series, ‘White Flag Emojis’, displays short videos that create a powerful feeling of apprehension. Ulman is also known for exploring social media in her work, Excellences and Perfections, a poignant four-month long art project in which she creates a fake persona on her Instagram page with thousands of followers. The thought-provoking series throws up important questions on the pitfalls of easily manufactured online “fame”, while, perhaps ironically, highlighting the power of digital art in doing so.

The founder of Daata Editions, David Gryn, and his team have a strong reputation worldwide for producing, curating and promoting artists’ audio visual projects and events that have consistently excited and attracted large audiences, and introduced new audiences to the arts. Gryn says that digital and downloadable art is the future, a belief confirmed by David Hockney who in 2011 began creating works to be viewed exclusively on an Ipad, thus allowing him broader perspective and freedom of adaptability when working.

Daata Editions artworks form part of the Hammer Museum Contemporary Collection, US; the Julia Stoschek Collection, Germany; KIASMA, Finland and the Zabludowicz Collection, UK. Collectors, including Robert and Renee Drake, The Netherlands, as well as galleries, including Elizabeth Dee, New York and Marc Foxx, Los Angeles, have purchased multiple artworks from the platform.

Things are moving all the time, so watch out for fresh new works Daata Editions will be launching in the next months. Artists will include the likes of Saya Woolfalk, Larry Achiampong, Scott Reeder and Tameka Norris. In addition, Daata Editions in collaboration with Zuecca Projects presents Gentrification, an exhibition with new works by artists Hannah Quinlan & Rosie Hastings, at BBAR, Bauer Hotel, Venice, to coincide with the 15th Venice Architecture Biennale.

Leaving the Nest – a text for Wimbledon MFA

In Art Basel, artists, Artprojx, Daata Editions, David Gryn, Frieze, MFA, Tate Modern, Uncategorized on 18/06/2016 at 1:27 pm

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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/

Artspace – My Favorite Works from LISTE 2016 – preview

In Andrew Goldstein, Art Basel, Art Basel in Miami Beach, Artspace, Bauer Hotel, Daata, Daata Editions, daataeditions, David Gryn, Jane Bustin, Liste, NADA, Uncategorized on 06/06/2016 at 8:48 pm

Daata Editions Director David Gryn’s Favorite Works from LISTE 2016

http://www.artspace.com/magazine/contributors/picks/david-gryn-liste-picks-53886

By Artspace Editors

June 6, 2016

Daata Editions Director David Gryn's Favorite Works from LISTE 2016

Daata Editions Director David Gryn. Photo by Alberto de Nart (shot at the Bauer Palladio, Venice)

David Gryn is the director and co-founder of the year-old digital art and video collecting platform Daata Editions and the film curator at Art Basel Miami Beach, so it’s perhaps unsurprising that his picks for LISTE 2016 tend toward moving images, technological interventions, and outide-the-box thinking of all kinds. Read up on the rationale behind his selections here, and stop by the fair from June 14-19 in Basel, Switzerland for more art world action.

MICHAEL AUDER
Gemälde II, 2015
Fonti

auder

As someone who ostensibly works with artists of the moving image I was compelled to select Michel Auder, a rare artist that seamlessly crosses the terrain between both art and filmmaking. Here’s a quote from Michel Auder that matches my thoughts on this selection: “When people ask me what’s the best thing I like, my head starts scrambling and I just can’t think of anything. Depending on the day, I might say this or that. I really don’t have any specific thing that I like better than others.”

 

JESSE DARLING
Colonel Shanks, 2016
Arcadia Missa

Jesse Darling

The Jesse Darling works shown by Arcadia Missa have a great sense of self, humor, and balance. I have been aware of Jesse and her work for some time and it is really getting the attention it deserves.

INGA MELDERE
“Students painting some of the remarkable scenery in the park”, 2016
Temnikova & Kasela Gallery

meldere

I have always been a big fan of the “sublime,” so this humorous Caspar David Friedrich-esque take by Inga Meldere took me by surprise. Temnikova and Kasela Gallery is an Estonian gallery and an art world gem.

 

SHANA MOULTON
Every Angle is an Angel, 2016
Galerie Crevoecoeur

moulton

Last year I selected Shana Mouton’s MindPlace ThoughtStream for the film program I curate for Art Basel Miami Beach—I knew how much I valued the work as I took endless images of it whilst it was playing on the huge 7000 square foot outdoor screen. I recently spent many days with Shana’s moving image works as a Daata Editions neighbor to the Gregor Staiger space at Independent Brussels and was mesmerized by the work’s magic. They are witty, aesthetic, intelligent, and spellbinding—they really are complete artworks.

 

ERKKA NISSINEN
Vantaa, 2007
Ellen de Bruijne Projects

nissinen

Crazy, funny, dark, engaging, bizarre—everything we should want from a great Finnish artist. Brilliant.

 

XIMENA GARRIDO-LECCA
Destilaciones, 2014
80m2 Livia Benavides

lecca

I have been increasingly observing that ceramics making their presence felt at art fairs. This is chiefly because my wife, the artist Jane Bustin, makes wonderful artworks with ceramic and porcelain (as well as paint, metals and fabrics)—my eye has been altered irrevocably to look more and more at this medium. This Ximena Garrido-Lecca installation at 80m2 Livia Benavides is earthy, historical, current, and intriguing.

 

DAWN KASPER
M44, 2016
David Lewis

kasper
I am drawn to these Dawn Kasper sculptures, as I am obsessed with music intersecting with art making.

 

YURI PATTISON
dust scraper fan 1.9 (power and wealth to honor leaders or religions to stretch architectural limits), 2016
mother’s tankstation

pattison

Yuri Pattison pushes the boundaries of our art world and how data engages with us all. I’m hugely looking forward to his first UK institutional show at Chisenhale opening in July, as well the outcomes of his winning the Frieze Artist Prize for 2016.

 

GERDA SCHEEPERS
The Style, 2016
Blank

scheepers

Gerda Scheepers makes collages that disturb and disrupt, but are cohesive and use disparate materials to create an aesthetic whole.


Notes:

Overall in my selections I have been somewhat drawn to similar sculptural forms and colours evolving from a variety of materials (Sheepers, Pattison, Kasper, Darling) and obviously (to me) selecting some moving image works (Nissinen, Moulton, Auder), as they are great and it is vital that galleries at art fairs bring art forms that do not necessarily have the same commercial allure as 2d object based artworks, but as art mediums that are being used by most artists, which you would not believe, if you only ever saw artworks at art fairs.

I am always looking at/and for moving image and sound works at art fairs … and alas, rarely find much. It has been my work for over the last 15 years – being focused on showing artists moving image works and most often projects during major art fair periods, as this is when the finite art audience reaches its highest demand for art consumption. 

Liste, like NADA, Sunday, etc … gives us hope in the art world that there is the potential for great new galleries, new artists, new ideas – before the cyclical homogeneity (albeit often great!) of the major art fair commercial allure sets it.

Six Not-to-Miss Shows at the Venice Architecture Biennale – NY Times

In Arcadia Missa, Bauer Hotel, Daata, Daata Editions, Hannah Quinlan, Hettie Judah, New York Times, Rosie Hastings, Uncategorized, Venice Achitectural Biennale, Zuecca Projects on 27/05/2016 at 3:45 pm

The architect Alejandro Aravena, the surprise winner of this year’s Pritzker prize (and subject of a feature by Michael Kimmelman in T’s upcoming issue) wants to pull architectural focus away from starry prestige projects and attention-grabbing landmark buildings. Under Aravena’s direction, this year’s Venice Architecture Biennale will focus on architecture that addresses actual — and often urgent — daily human needs. He views the advancement of architecture not as “a goal in itself but a way to improve people’s quality of life.” Later this week, Aravena’s central exhibition, “Reporting From the Front,” will open alongside national presentations and special projects. Many, including the handful of diverse projects below, offer their own reports from architecture’s many fronts.

A view of historic structures in Sana, Yemen. Credit: Liedwien Scheepers

Yemen

The notion of reporting from the front line is, as its curators point out, “unfortunately directly applicable to the Yemen pavilion.” This modest but important exhibition will focus on the conflict-ravaged country’s vernacular architecture, traditional building techniques and the spectacular ancient structures still standing in the capital, Sana (pictured above). At a moment when the destruction of important ancient structures is the stuff of international headlines, boning up on imperiled world heritage is an urgent imperative.

One of the sites featured in Poland’s exhibition. Credit: Michał Gdak

Poland

Poland eyes a front line that implicates us all, turning the focus of its pavilion to the construction industry and the making of buildings. Following hot on the heels of controversies surrounding labor conditions on high-profile projects including the Guggenheim Abu Dhabi Museum, the pavilion’s theme, “Is Fair Building Possible?” investigates the human cost of architecture. (Above, a photo taken during the process of creating the exhibition.

“Scrutable Landscape Series No. 017,” 2015, a pigment print that highlights the scarcity of space that challenges Korean architecture. Credit: Kyungsub Shin

Korea

FAR stands for Floor Area Ratio — the amount of floor space a building can offer in relation to the size of land it is built upon. It’s a hot topic in Seoul, where architects are driven by the market to optimize their use of space, and struggle to balance this with considerations of quality of life.

Geoff George’s “House Fire,” 2013, is one of 20 postcards depicting Detroit that will be distributed to fair-goers at the United States’ pavilion. Credit: Geoff George

United States

“The Architectural Imagination” offers a dozen exercises in speculative architecture for the city of Detroit. Its curators, Cynthia Davidson and Monica Ponce de Leon, have selected 12 very different architectural practices from around the U.S., each of which spent time in the city’s neighborhoods before proposing projects. While these address the specific needs of Detroit, the curators note that the ideas are relevant to all cities “dealing with empty factories and declining population.” Twenty postcard designs showing Detroit through the eyes of residents and visiting photographers, including the one shown above, will be distributed at the Biennale.

A view of the United Nations’ Camp Castor in Gao, Mali. Credit: Courtesy of Malkit Shoshan

The Netherlands

The curator Malkit Shoshan specializes in the architecture of conflict, and for “Blue,” she focuses on the structures created by the United Nations at Camp Castor in Gao, Mali. “Blue” indicates, on the one hand, the blue helmets of the peacekeeping mission, and on the other, the “blue men” of the Tuareg, in whose region the mission is situated. Shoshan suggests the military camp itself as a permeable cultural location rather than a fortress, and one that brings with it the possibility of positive change.

Hannah Quinlan and Rosie Hastings’s “Centre Stage,” 2016. Credit: Courtesy of the artists & Daata Editions

@Gaybar

The @Gaybar project explores a rather more familiar front line — that of creeping gentrification. The artists Hannah Quinlan and Rosie Hastings document and recreate London’s historic gay bar spaces as they shut down in the face of rapid gentrification. In Venice, they’ll present new film works exploring disappearing LGBTQI spaces in the bar of the Bauer Hotel.