David Gryn blog

Posts Tagged ‘Independent’

Independent Features: Sound and Video Curator David Gryn on Championing Non-Object-Based Art

In Daata, Daata Editions, daataeditions, David Gryn, Elizabeth Dee, Elliot Dodd, Independent, keren cytter, Leo Gabin, Spring, spring place, Uncategorized on 01/03/2018 at 12:26 pm

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For the 2018 edition of Independent New York, sound and video curator David Gryn has programmed a series of artist-created video and sound experiences that will take place throughout the duration of the fair. A collaboration between Independent and Spring Place, the program will feature works by a range of international artists exploring digital mediums, including: Larry Achiampong, Lynda Benglis, BREYER P-ORRIDGE, Keren Cytter, Ed Fornieles, Leo Gabin, Laurel Nakadate, Puppies Puppies, Torbjørn Rødland, and Saya Woolfalk.

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Based in London, Gryn has a long history of working with sound, video, and digital media: in 2001, he founded Artprojx, which has collaborated with numerous institutions worldwide to screen and promote artists’ film and video projects. He is now the director Daata Editions, an innovative platform that commissions video, sound, and web-based works, which can be viewed and acquired as digital downloads. Launched in 2015, Daata Editions has since commissioned work by more than 65 artists, and Gryn has forged a path as a tireless champion for bringing sound and video art into the conversation.

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No Panic Baby – Leo Gabin (Peres Projects, Elizabeth Dee, VNH)

“I don’t really see myself as a curator, more as a facilitator,” Gryn says. “What I try to do with any project that I work on is think about how to empower the artist, or the gallery, or the audience in some way.” In conceiving of the sound and video program for Independent, he thought about “how to make the art fair experience work for the artists and the mediums that don’t always get featured at fairs. Often the artworks that I show get left behind because galleries, in the end, are more comfortable showing works that are object based. And it’s been a longstanding commitment of mine to try to make sure that I work with galleries to show artworks that they might not find as easy to put into a booth. It’s vital that mediums that don’t have the same marketplace presence get some kind of strong exposure, so what I try to do is think about how to show them so that they can create a dialogue with the audience and the environment.”

Daata Editions was founded to respond to a similar problem: it came out of a desire “to invest in the artists and in the mediums, to find ways to support them.” According to Gryn, Daata Editions was inspired by “the belief that the art market doesn’t yet know how to handle digital media. After 15 years of working with artists’ film, video, and sound works, I felt there was a need to tackle not only the art market, but the question of how to support and empower artists so that they’re able to keep making these types of works.”

The works selected by Gryn for Independent include both Daata Editions commissions—including the debut of a new work, the six-part video  The Doctor  by London-based artist Elliot Dodd, described as a “meditation on bodily exertion, chemical energy, and disoriented calm” —and works from participating galleries. Gryn’s goal, he says, was to create a “cohesive program” that brings together Independent, Spring Place, and the galleries. For Gryn, it’s important that the program complements rather than competes with the galleries’ presentations: when invited to work with Independent on the sound and video program, “my first reaction was to make sure that the galleries in the fair feel good about what’s being programmed,” he says. “That is vital to my thinking about working with art fairs: how do you make the people who have already been selected to participate in a fair feel included in the other projects that happen around them, because they’re already throwing in so much of their own energies to be there. It’s really important to make sure that the galleries are part of the conversation.”

Independent New York 2018
PRIVATE VIEWING (by invitation):
Thursday, March 8

PUBLIC HOURS:
Friday, March 9: 12–7PM
Saturday, March 10: 12–7PM
Sunday, March 11: 12–6PM

LOCATION: Spring Studios, 50 Varick Street, New York

RELATED LINKS:

Independent and Spring Launch a Program of Artist-Created Audio and Film Installations, Selected by Curator David Gryn

http://www.independenthq.com/news-items/independent-and-spring-launch-a-program-of-artist-created-audio-and-film-installations-selected-by-curator-david-gryn

Independent Features: Sound and Video Curator David Gryn on Championing Non-Object-Based Art

http://www.independenthq.com/features/sound-and-video-curator-david-gryn-on-championing-non-object-based-art

Institute 193 Playlist in the Independent & Spring Video & Sound Program
Curated by David Gryn

193 Playlist includes: Georgiana B. Pettway and Creola B. Pettway, Three Legged Race, Street Gnar, Idiot Glee, The Smacks, Lonnie Holley, Jules Trakker (Resonant Hole), Ben Sollee, Silas House, Matt Duncan, Anna & Elizabeth, Ben Durham and Robert Beatty Jeanne Vomit-Terror, Rayna Gellert, Phillip March Jones, ATTEMPT, Morgan O’Kane Groove, Merchants, Louis Zoellar Bickett II

http://institute193.org/193-sound-at-independent-art-fair

Elliot Dodd, The Doctor, just released on Daata Editions

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

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

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

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

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

TRAILER

Daata Editions

Daata Editions at Independent NY & Spring Place

In Daata, Daata Editions, Independent, NADA, New York, Scott Reeder, spring place, The Armory Show, Uncategorized on 18/02/2018 at 9:36 am

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Independent New York and Spring Place Launch a Programme of Artist-Created Audio and Film Installations, Selected by Curator David Gryn, Director of Daata Editions. 

Independent, March 8-11, 2018. Spring Studios, 50 Varick Street, New York, NY 10013.

Daata Editions‘ sound and video curator David Gryn is programming a series of immersive audio experiences and film screenings throughout the public spaces of Independent and Spring Place for the duration of Independent New York in March 2018. The new collaborative initiative will be co-hosted by Spring Place at their Sunken Living Room and the programme will feature a selection of audio and video works by artists from the exhibiting galleries and Daata Editions, transforming the experience of the common areas.

Artists to be featured include: Larry Achiampong, Sofie Alsbo, Maria Antelman, Thora Dolven Balke, Cara Benedetto, Lynda Benglis, BREYER P-ORRIDGE, Jake Chapman, Rob Chavasse, Matt Copson, Keren Cytter, Shezad Dawood, Brice Dellsperger, Elliot Dodd, Graham Dolphin, Alexandra Drewchin (eartheater), Tracey Emin, FlucT, Ed Fornieles, Luke Fowler & Sue Tompkins, Leo Gabin, Douglas Gordon, Brent Green, Joseph Grigely, Eloise Hawser, Joachim Koester & Stefan A. Pedersen, Lina Lapelyte, David Lynch, Laurel Nakadate, Rashaad Newsome, Tin Ojeda, Hannah Perry, puppies puppies, Torbjørn Rødland, Scott & Tyson Reeder (feat: The Fall), Ariana Reines, Marina Rosenfeld, Richard Sides, John Skoog, Scott Treleaven, Stephen Vitiello, Saya Woolfalk and more.

Institute 193 – playlist artists: Georgiana B. Pettway and Creola B. Pettway, Three Legged Race, Street Gnar, Idiot Glee, The Smacks, Lonnie Holley, Jules Trakker (Resonant Hole), Ben Sollee, Silas House, Matt Duncan, Anna & Elizabeth, Ben Durham and Robert Beatty, Jeanne Vomit-Terror, Rayna Gellert, Phillip March Jones, ATTEMPT, Morgan O’Kane, Groove Merchants, Louis Zoellar Bickett II

Galleries include: 303 Gallery, Canada, Chapter NY, Elizabeth Dee, Nagel Draxler, Andrew Edlin Gallery & Institute 193, INVISIBLE-EXPORTS, François Ghebaly, The Modern Institute, Carlos / Ishikawa, Neue Alte Brücke, Night Gallery, The Sunday Painter, Air de Paris, Peres Projects, Cheim & Read, Tilton Gallery & Kayne Griffin Corcoran, Leslie Tonkonow Artworks + Projects, untilthen, VI, VII.

BUY THE DAATA EDITIONS ARTWORKS FEATURED AT INDEPENDENT HERE

Image: Scott Reeder, Nodes, 2017

It’s Nice That – A Chat with Daata Editions

In Art Basel, artists, Daata Editions, daataeditions, David Gryn, digital art, Its Nice That, Jacolby Satterwhite, Jonathan Monaghan, Katie Torn, Michael Manning, Quayola, Sara Ludy, Uncategorized on 20/04/2016 at 10:18 pm
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Katie Torn

The problems with digital art and why moving image is so important: a chat with Daata Editions

The problem with the relative newness of media like video, digital and internet art is that unlike a canvas or a sculpture, people can struggle with the ideas of how to show, sell and “own” them. In a culture where film, gifs and other forms of creative work are available online, everywhere, to many people the idea of what is and isn’t art, and how you own it, is confusing. While everyone accepts that video art and digital art are still valid and important media; there are few organisations making the leap into viewing them in the commercial art world in the same way we would more traditional formats.

Digital art platform Daata Editions is changing all that, having launched last year as a space to champion a curated selection of commissioned pieces by artists working in digital, sound, moving image and internet art. Its first season featured 18 artists, and each created six new works available to buy on the website in editions of 15. Among the artists featured in season one are Jon Rafman, David Blandy and Rachel Maclean. Daata Editions has just announced its second season, with work by Tracey Emin, Jake Chapman and Casey Jane Ellison. The works will be priced from $100 upwards (around £70), and can be bought from 5 May. To coincide with the launch, we spoke to Daata Editions’ director David Gryn about how the platform works, why we need it, and changing attitudes towards digital and moving image art.

Why did you decide to start Daata Editions?

I’ve been working with artist moving image for nearly 20 years, so I have an instinct of how the art world and audiences engage with it, and how the market works with it. I previously curated video for Art Basel Miami, working with the art fair about how galleries can work with moving image. People often don’t bring it to art fairs as it doesn’t sell well, so I tried to bring it to life. We wanted to encourage galleries into programming exceptional moving image artists as they’re part of the fabric of the contemporary art world; but it was never made a priority. I wanted to encourage other models and platforms for showing artist moving image.

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Tameka Norris: did you like that

What are the problems with showing people art that lives online, in a world where we’re so surrounded by online images and audio, all the time?

We need to define art processes and work with artists who make art, not “content”. The web-based media want to serve a huge audience but it’s important to define that everything I do is about art and artists, not about wacky social media tropes. We’re empowering the artists, the audience and the collector to do what they do with this medium, and making sure it’s the artist we’re talking about rather than the great technical media we’re working with.

As technology evolves so rapidly, what are your feelings about the longevity of the work and the platform?

I don’t want to start guessing what the next 20 years will be like, but the better artists work with the greatest quality materials. Daata Editions is about looking at how to serve artists best and how to pay them, promote the work and make the business sustain itself. I wanted to create a model, not the model, and work with people trying to do the best of what they do.

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Tracey Emin: I Can’t Love Anymore

How do you select the artists you work with?

I just filter things by instinct, we work with a few other people including writers and curators, but we hear about a lot of artists through other artists. The site has the rudiments of being a gallery but the boundaries of a website rather than a gallery wall, so the art has to work with that.

We choose things you think can engage an audience, but also someone with currency in the art world. We’re taking a risk with some artists, but some have that currency already. We’re trying to keep it as open as possible, and the relationships that work well have a very collaborative nature. It’s a pleasure to make the process happen and try to read the crystal ball of who’s going to be successful. We’re not trying to be purveyors of the future but we’re saying “this is a system we’re believing in and it’s working well.” It’s a medium we want to engage with more and more.

What are the practicalities of the site, in terms of payment, rights and ownership of the work?

We’ve tried to price everything flat, not according to the current market. The pieces are downloaded onto a screen of a platform of your choice, but anyone can see them free with a watermark. We felt we should allow the audience to see the whole thing, and the person who wants to own it gets the limited-edition number.

We’re trying to create something where people can see it and buy it in a way that artists get paid and the next round of commissioning happens. Its aims are about paying the artists and continuing the business.

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Sara Ludy: Glass Dragons 2016
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Davide Quayola: Pleasant Places
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Jacolby Satterwhite: En Plein Air Abtraction
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Jonathan Monaghan: bitforms Back To The Garden
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Michael Manning: Chill Late Night Hang Out
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Rashaad Newsome: Shade compositions 2012 remix

Daata Editions et l’art de demain

In Art Basel, Art Basel in Miami Beach, Art Fair, Asialyst, Brussels, Daata Editions, daataeditions, David Gryn, Digital, digital art, Independent, Jeff Koons, New York Times, Uncategorized, Video Art on 17/04/2016 at 10:37 am

Daat new flyer image pink April 2016

Franck Barthelemy feature on Daata Editions in Asialyst.

From the New York Times Conference: Art for Tomorrow in Doha, Qatar, March 2016. Posted to celebrate Daata Editions participation in the inaugural Independent Brussels April 2016.

La dernière conférence du New York Times Art for Tomorrow s’est tenue à Doha (Qatar) en mars dernier.
Le thème choisi pour 2016 n’est pas banal, même à Doha, une ville qui se projette sans complexe dans le XXIème siècle : Technology, Creativity and the City. Des intervenants prestigieux du monde des arts et au delà du monde de l’urbanisme ont échangé idées et arguments avec passion, parfois confusion.
Parmi elles, Charles Landry, HE Sheikha Al Mayassa, Wim Pijbes, Aric Chen, Jean Nouvel, David Gryn, Jeff Koons, Marina Abramovic et plusieurs dizaines d’autres.
J’ai particulièrement apprécié les débats sur l’art et l’internet, qu’il s’agisse d’accès, d’appréciation ou de modalité de vente.
Les partisans de l’art qu’on doit voir « en vrai » et ceux de l’art qu’on peut voir sur un écran se sont affrontés avec diplomatie pour aboutir à un dialogue du type anciens contre modernes.

Je crois que ce débat est persistant dans un monde où les technologies ne cessent d’évoluer.
Je crois aussi qu’il est inutile.
Il y aura toujours des amateurs de musées réels et des amateurs de musées virtuels.
Il y aura sans doute d’autres formes de « lieux » d’expositions dans les années à venir.
Et surtout, il y a déjà et il y aura encore de nouvelles formes d’art, des formes que les artistes inventent en fonction des technologies disponibles.

Je crois que le débat doit s’ouvrir à ces nouvelles formes d’art.
Par exemple, un son. Comment le fait-on entendre ? Dans le circuit des galeries ? Pas facile ! Quel prix attribuer à un son ? Comment l’artiste développeur de son peut-il vivre de son œuvre ? Comment distribuer un son ? Comment stocker un son ? On peut se poser les mêmes questions pour une succession d’images animées de 3 secondes par exemple. Ou encore, une vidéo de 1.5 minute.

L’initiative de David Gryn, un commissaire américain (le créateur de Film à Art Basel Miami Beach depuis 2011), spécialiste d’images animées, m’est apparue à cet égard remarquable.
Gryn a créé l’an dernier Daata Editions, une plateforme internet dédiée aux images animées, aux sons et aux courtes vidéos. Depuis plusieurs années, il se demandait comment promouvoir et développer un public pour les artistes qui produisent des images animées et des sons que l’on trouve parfois gratuitement sur internet sur les sites des artistes, et plus généralement nulle part excepté dans quelques musées ou des collections très spécialisés.

Sur ses propres fonds et initialement soutenu (grâce à la pratique du seed funding) par la collectionneuse et philanthrope Anita Zabludowicz, Gryn a conçu un site internet pour distribuer des images animées et des sons.
Son point de départ : comment aider ces artistes qui utilisent des supports multimédia que l’on n’expose pas dans les galeries et en conséquence qui sont peu vendus.
S’ils sont peu vendus, ils sont peu connus et n’ont donc aucune chance d’accéder à un large public.

Gryn propose en ligne des « saisons » qu’il commissionne à des artistes qu’il connaît personnellement ou qui lui sont recommandés.
Il fait son travail de commissaire et sélectionne quelques artistes. Il produit l’œuvre de l’artiste et l’achète.
Il propose ensuite de vendre sur la plateforme internet une édition de 15 en général. Pour chaque vente, l’artiste touche une royaltie.

La première « saison » a présenté le travail de 18 artistes, spécialement conçu pour être vendu sur la plateforme.
A peu près 300 œuvres ont été vendues en ligne à un peu de moins de 100 clients.
Le prix d’une œuvre varie de quelques centaines à quelques milliers de dollars.

Le site n’est pas une galerie en ligne mais une plateforme de distribution.
Chaque artiste est montré de la même façon. Personne n’est mis en avant.
L’acheteur potentiel doit faire un choix parmi les artistes de la saison en cours. Il doit être actif et exercer son sens critique pour passer à l’acte d’achat.
L’acheteur doit trouver les images, le son ou la vidéo qu’il veut, qu’il recherche ou tout simplement qui l’interpellera.
Au bout du compte, il se retrouvera avec un fichier sur son ordinateur qu’il appréciera seul, qu’il partagera avec des amis, qu’il mettra peut-être en scène chez lui.

Gryn n’a pas l’intention d’attirer sur la plateforme les fonds d’investissement qui font et défont les cotes des artistes contemporains.
Il partage naïvement avec d’autres collectionneurs ce qu’il trouve bon et intéressant, parfois avec l’aide d’autres experts ou amateurs de son entourage. Gryn construit un écosystème pour soutenir de nouvelles formes d’art immatérielles.
Pour le moment, Dataa Editions est une petite start-up qui emploie une personne à mi-temps.
Compte tenu de l’évolution constante des formes d’art et des technologies pour les réaliser, je peux aisément imaginer que la petite start-up deviendra grande.

En fait, le succès de l’entreprise de David Gryn a peu d’importance.
Il ouvre une réflexion sur la distribution des œuvres d’art, matérielles et immatérielles. Il nous propose d’imaginer de nouvelles voies, de nouveaux écosystèmes pour soutenir la création.
Les conversations de Doha ont porté davantage sur les lieux et les infrastructures pour accueillir la création.
Peut-être que l’an prochain, pourraient- elles porter sur les nouvelles formes d’art dans la citée et les nouveaux écosystèmes pour les encourager ?

Franck Barthelemy
Diplomé de l’EDHEC, Franck rejoint d’abord le corps diplomatique comme attaché commercial auprès de l’ambassade de France de Bombay en 1993. Il a depuis quitté la diplomatie pour le monde des affaires mais il n’a jamais perdu sa passion pour l’Inde ; passion qui l’a conduit a développer un nouveau modèle de développement pour les ONG indiennes. L’art n’étant jamais très loin, il est depuis 2009, consultant et découvreur de talents artistiques pour collectionneurs.

Article in Asialyst

https://asialyst.com/fr/2016/04/12/daata-editions-et-lart-de-demain/

Daata Editions at Independent Brussels

In Daata, Daata Editions, daataeditions, Elizabeth Dee, Leo Gabin, Peres Projects, Uncategorized on 11/04/2016 at 7:31 pm

 

Leo Gabin at Independent

Leo Gabin, Girlhood (2015)

 

Daata Editions are pleased to announce their participation at Independent Brussels, April 20 – 23 2016.

Daata Editions will complete the 6th and final artwork release by Season One artists with a focus on Belgian artist trio Leo Gabin and will be previewing the new commissioned artists from Daata Editions Season Two.

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

Independent Brussels
Vernissage: Wednesday, April 20: 6 – 8pm

Public Hours:
Thursday April 21, 2 – 7pm
Friday April 22, 12 – 7pm
Saturday April 23, 12 – 7pm

Address:
Vanderborght building
Schildknaaksstraat 50
Rue de l’Ecuyer
1000 Brussels

More info:
independenthq.com

Independent Brussels will feature over 60 international galleries and non-profit institutions drawn from 30 cities, with many solo and site-driven projects :

1857, Oslo – Air de Paris, Paris – Christian Andersen, Copenhagen – Andrehn-Schiptjenko, Stockholm – The Approach, London – Michael Benevento, Los Angeles – Isabella Bortolozzi Galerie, Berlin – Brennan & Griffin, New York – Gavin Brown’s enterprise, New York/Rome – Cahn International, Basel – CANADA, New York – Carlier Gebauer, Berlin – Carlos/Ishikawa, London – Mehdi Chouakri, Berlin – C L E A R I N G, New York/Brussels – Galerie Chantal Crousel, Paris – Daata Editions, London – Ellen de Bruijne Projects, Amsterdam – Elizabeth Dee, New York – Delmes & Zander, Cologne/Berlin – Dürst Britt & Mayhew, The Hague – Dvir Gallery, Tel Aviv/Brussels – Marc Foxx, Los Angeles – Galerie Christophe Gaillard, Paris – Gavlak, Los Angeles/Palm Beach – gb agency, Paris – Gladstone Gallery, New York/Brussels – Green Art Gallery, Dubai – High Art, Paris – Jeanrochdard, Paris/Brussels – Ibid. Gallery, London/Los Angeles – Kaufmann Repetto, Milan/New York – Koppe Astner, Glasgow – Eleni Koroneou Gallery, Athens – Emanuel Layr, Vienna – Wilfried Lentz, Rotterdam – Linn Lühn, Düsseldorf – Ludion, Antwerp – Markus Lüttgen, Cologne – MAGNIN-A, Paris – Galeria Jaqueline Martins, São Paulo – Martos Gallery, New York/Los Angeles – Mary Mary, Glasgow – Meyer Kainer, Vienna – Jan Mot, Brussels – Mulier Mulier, Knokke – Múrias Centeno, Porto/Lisbon – Neue Alte Brücke, Frankfurt – Off Vendome, Düsseldorf/New York – Office Baroque, Brussels – Maureen Paley, London – Peres Projects, Berlin – Praz-Delavallade, Paris – Simon Preston, New York – Project Native Informant, London – Le Salon presented by Almine Rech Gallery, Brussels/London/Paris – Room East, New York – Aurel Scheibler, Berlin – Tommy Simoens, Antwerp – Société, Berlin – Soft Focus Institute, Gent – Galerie Gregor Staiger, Zurich – Stems Gallery, Brussels – Micheline Szwajcer, Brussels – Travesia Cuatro, Guadalajara/Madrid – Triangle Books, Brussels – Truth and Consequences, Geneva – VI, VII, Oslo – Vilma Gold, London – White Columns, New York – Jocelyn Wolff, Paris – David Zwirner, New York/London

Leo Gabin are represented by Peres Projects and Elizabeth Dee

Daata Editions 5th Artwork Release – coming soon

In Amalia Ulman, Armory, Art Fair, Chloe Wise, Daata, Daata Editions, Daniel Keller, David Blandy, David Gryn, Ed Fornieles, Hannah Perry, Leo Gabin, Rachel Maclean, Takeshi Murata, Uncategorized on 27/02/2016 at 11:54 am

 

Ed Fornieles - Sleeping

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

 

 

 

Luke Fowler screenings at SVA Theatre New York – Friday March 9

In A Grammar for Listening, All Divided Selves, Artprojx, Artprojx Cinema, Cinema, David Gryn, Eric la Casa, Film, Luke Fowler, New York, R.D. Laing, Screenings, SVA Theatre, The Armory Show, The Modern Institute, Toshia Tsunoda, Video, Video Art on 06/03/2012 at 9:37 am

The Modern Institute and Artprojx Cinema presents
A Grammar for Listening (Parts 1 – 3) & All Divided Selves
by
Luke Fowler

Friday March 9 at 8.30pm and 9.30pm

at

SVA Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York, NY 10011
ENTRY IS FREE. RSVP artprojxcinema@gmail.com to confirm which screening or both.

more details:

Luke Fowler
Friday 9 March 2012

A Grammar for Listening (Parts 1 – 3) 8.30pm

Silence dominated the experimental film of the 1960s. Sound or musical accompaniment was often dismissed as illustrative, manipulative or redundant. Instead, a return to experiments of early cinema concentrated on rhythm, structure and material and thereby considered film’s potential as a unique art form with its own grammar. Prior to this tendency in film, composer John Cage had foregrounded silence within his 1953 composition ‘4’33’. Purging concerts of conventional musical content, he allowed the sounds from outside to come inside and become the focus of the audience’s attention.

These foundational ideas have led to a burgeoning music scene focused on environmental sound and field recording. Outlining some of the complexities between film and sound, Luke Fowler’s film cycle ‘A Grammar for Listening (parts 1-3)’ attempts to confront these contradictions through the possibilities afforded by 16mm film and digital sound recording devices. These three films, created in collaboration with sound artists Lee Patterson and Toshiya Tsunoda and composer Éric La Casa respectively, provide a series of collaborations and meditations on the issues raised, and propose a number of tentative navigations through.

All Divided Selves 9.30pm
The social and cultural revolutions of the 1960s were spearheaded by the charismatic, guru-like figure of Glasgow born psychiatrist R.D. Laing. In his now classic text ‘The Politics of Experience’ (1967), Laing argued that normality entailed adjusting ourselves to the mystification of an alienating and depersonalizing world. Thus, those society labels as ‘mentally ill’ are in fact ‘hyper-sane’ travelers, conducting an inner voyage through aeonic time. The film concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment and disturbed interaction in institutions as significant factors in the aetiology of human distress and suffering.

All Divided Selves reprises the vacillating responses to these radical views and the less forgiving responses to Laing’s latter career shift from well-recognized psychiatrist to celebrity poet. A dense, engaging and lyrical collage — Fowler weaves archival material with his own filmic observations — marrying a dynamic soundtrack of field recordings with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair Roberts.

Luke Fowler
Luke Fowler (b. 1978) is an artist, filmmaker and musician based in Glasgow. His films, a collage of found footage and Fowler’s own recordings, have documented the work of British counter cultural figures including Scottish psychiatrist R. D. Laing and composer Cornelius Cardew. Through his collaboration with experimental musicians Toshia Tsunoda, Lee Patterson and Eric la Casa, he creates dynamic soundtracks of original compositions and field recordings for these works.

His new feature-length film ‘All Divided Selves’ is the third work to take up the legacy of radical psychiatrist R.D. Laing. It concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment as significant factors in human distress and suffering. The film premiered at Anthology Film Archive in New York in November 2011 and has been screened as part of the Berlin Film Festival this year.

The Modern Institute will be making a solo presentation of Luke’s new photographic prints at the Independent Fair in New York in March. His recent solo exhibitions include Inverleith House, Edinburgh; ‘All Divided Selves’, CCS Bard Galleries, Bard College, Annandale-on-Hudson, New York; Serpentine Gallery, London; ‘A Grammar For Listening’, The Modern Institute, Glasgow; and ‘Warriors’, X Initiative, New York; Kunsthaus Zürich, Zürich. Forthcoming solo exhibitions include ‘The Poor Stockinger’ at The Hepworth, Wakefield. He participated in ‘Cornelius Cardew and the Freedom of Listening’, CAC Bretigny; ‘British Art Show 7: In The Days Of The Comet’, Nottingham Contemporary, Nottingham and The Hayward Gallery, London; ‘Radical Nature’, Barbican Art Gallery, London; ‘The Associates’, DCA, Dundee; ‘What You See is Where You’re At’, The Scottish National Gallery of Modern Art, Edinburgh; Kunsthaus Zürich, Zürich; and ‘Younger than Jesus’, New Museum, New York; In 2008 he received the inaugural Derek Jarman Award.

The Modern Institute
The Modern Institute has been described by Art Review as ‘a model for galleries around the world’. Since its foundation in 1998 it has played an important role in putting Glasgow on the world art map through its association with some of the most important names in contemporary art. The gallery represents 38 artists who are regularly exhibiting internationally in museums and institutions. These include four Turner Prize winners; Martin Boyce (2011), Richard Wright (2009), Simon Starling (2005), Jeremy Deller (2004) and two further nominees; Cathy Wilkes (2008) and Jim Lambie (2005). Several of the artists have exhibited at the Venice Biennale, with Martin Boyce representing Scotland with a solo presentation in 2009.

Artists represented include: Dirk Bell, Martin Boyce, Jeremy Deller, Alex Dordoy, Urs Fischer, Kim Fisher, Luke Fowler, Henrik Håkansson, Mark Handforth, Georg Herold, Thomas Houseago, Richard Hughes, Chris Johanson, Andrew Kerr, Jim Lambie, Duncan MacQuarrie, Victoria Morton, Scott Myles, Nicolas Party, Toby Paterson, Simon Periton, Manfred Pernice, Mary Redmond, Anselm Reyle, Eva Rothschild, Monika Sosnowska, Simon Starling, Katja Strunz, Tony Swain, Spencer Sweeney, Joanne Tatham & Tom O’Sullivan, Padraig Timoney, Hayley Tompkins, Sue Tompkins, Cathy Wilkes, Michael Wilkinson, Gregor Wright, Richard Wright.

The Modern Institute: Luke Fowler Solo Presentation 3rd Floor, Independent, 548 West 22nd St, New York, NY 10011. March 8-11, 2012

MODERN INSTITUTE www.themoderninstitute.com
INDEPENDENT www.independentnewyork.com/

Artprojx / David Gryn promotes and screens artist’s film and video programs in the context of the cinema, working in collaboration with galleries, artists, art museums and art fairs.

ARTPROJX CINEMA on FACEBOOK

 and more links

Artprojx at SVA Facebook link http://www.facebook.com/events/387609651265201/

FAD website http://www.fadwebsite.com/2012/02/29/artprojx-presents-luke-fowler-and-mystery-show-feat-four-finnish-artists-sva-theatre-ny-march-9-10/

Artist at Large http://www.artist-at-large.com/2012/02/27/artprojx-cinema-presents-at-the-sva-theatre-new-york-2012/?utm_source=feedburner&utm_medium=twitter&utm_campaign=Feed%3A+artist-at-large+%28artist-at-large%29

STRAIGHT TO VIDEO http://straighttovideo.org/2012/02/artprojx-cinema-presents-luke-fowler-and-mystery-show-at-sva-theatre-nyc/

ALL EVENTS IN NEW YORK http://allevents.in/new%20york/Artprojx-Cinema-at-SVA-Theatre-New-York-2012/387609651265201

RHIZOME – LUKE FOWLER http://rhizome.org/announce/events/58097/view/

Espacio de Manon http://manonmona.wordpress.com/2012/03/06/luke-fowler-screenings-at-sva-theatre-new-york-friday-march-9/

Artprojx website http://artprojx.com/lukefowlerandavarkki.html


A Grammar for Listening and All Divided Selves by Luke Fowler – SVA Theatre NY March 9

In A Grammar for Listening, All Divided Selves, Art, Artprojx, Artprojx Cinema, David Gryn, Luke Fowler, New York, SVA Theatre, The Modern Institute, Video Art on 27/02/2012 at 9:42 am

The Modern Institute and Artprojx Cinema presents
A Grammar for Listening (Parts 1 – 3) & All Divided Selves
by
Luke Fowler

Friday March 9 at 8.30pm and 9.30pm

at

SVA Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York, NY 10011
ENTRY IS FREE. RSVP artprojxcinema@gmail.com to confirm which screening or both.

more details:
Luke Fowler
Friday 9 March 2012

A Grammar for Listening (Parts 1 – 3) 8.30pm
Silence dominated the experimental film of the 1960s. Sound or musical accompaniment was often dismissed as illustrative, manipulative or redundant. Instead, a return to experiments of early cinema concentrated on rhythm, structure and material and thereby considered film’s potential as a unique art form with its own grammar. Prior to this tendency in film, composer John Cage had foregrounded silence within his 1953 composition ‘4’33’. Purging concerts of conventional musical content, he allowed the sounds from outside to come inside and become the focus of the audience’s attention.

These foundational ideas have led to a burgeoning music scene focused on environmental sound and field recording. Outlining some of the complexities between film and sound, Luke Fowler’s film cycle ‘A Grammar for Listening (parts 1-3)’ attempts to confront these contradictions through the possibilities afforded by 16mm film and digital sound recording devices. These three films, created in collaboration with sound artists Lee Patterson and Toshiya Tsunoda and composer Éric La Casa respectively, provide a series of collaborations and meditations on the issues raised, and propose a number of tentative navigations through.

All Divided Selves 9.30pm
The social and cultural revolutions of the 1960s were spearheaded by the charismatic, guru-like figure of Glasgow born psychiatrist R.D. Laing. In his now classic text ‘The Politics of Experience’ (1967), Laing argued that normality entailed adjusting ourselves to the mystification of an alienating and depersonalizing world. Thus, those society labels as ‘mentally ill’ are in fact ‘hyper-sane’ travelers, conducting an inner voyage through aeonic time. The film concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment and disturbed interaction in institutions as significant factors in the aetiology of human distress and suffering.

All Divided Selves reprises the vacillating responses to these radical views and the less forgiving responses to Laing’s latter career shift from well-recognized psychiatrist to celebrity poet. A dense, engaging and lyrical collage — Fowler weaves archival material with his own filmic observations — marrying a dynamic soundtrack of field recordings with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair Roberts.

Luke Fowler
Luke Fowler (b. 1978) is an artist, filmmaker and musician based in Glasgow. His films, a collage of found footage and Fowler’s own recordings, have documented the work of British counter cultural figures including Scottish psychiatrist R. D. Laing and composer Cornelius Cardew. Through his collaboration with experimental musicians Toshia Tsunoda, Lee Patterson and Eric la Casa, he creates dynamic soundtracks of original compositions and field recordings for these works.

His new feature-length film ‘All Divided Selves’ is the third work to take up the legacy of radical psychiatrist R.D. Laing. It concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment as significant factors in human distress and suffering. The film premiered at Anthology Film Archive in New York in November 2011 and has been screened as part of the Berlin Film Festival this year.

The Modern Institute will be making a solo presentation of Luke’s new photographic prints at the Independent Fair in New York in March. His recent solo exhibitions include Inverleith House, Edinburgh; ‘All Divided Selves’, CCS Bard Galleries, Bard College, Annandale-on-Hudson, New York; Serpentine Gallery, London; ‘A Grammar For Listening’, The Modern Institute, Glasgow; and ‘Warriors’, X Initiative, New York; Kunsthaus Zürich, Zürich. Forthcoming solo exhibitions include ‘The Poor Stockinger’ at The Hepworth, Wakefield. He participated in ‘Cornelius Cardew and the Freedom of Listening’, CAC Bretigny; ‘British Art Show 7: In The Days Of The Comet’, Nottingham Contemporary, Nottingham and The Hayward Gallery, London; ‘Radical Nature’, Barbican Art Gallery, London; ‘The Associates’, DCA, Dundee; ‘What You See is Where You’re At’, The Scottish National Gallery of Modern Art, Edinburgh; Kunsthaus Zürich, Zürich; and ‘Younger than Jesus’, New Museum, New York; In 2008 he received the inaugural Derek Jarman Award.

The Modern Institute
The Modern Institute has been described by Art Review as ‘a model for galleries around the world’. Since its foundation in 1998 it has played an important role in putting Glasgow on the world art map through its association with some of the most important names in contemporary art. The gallery represents 38 artists who are regularly exhibiting internationally in museums and institutions. These include four Turner Prize winners; Martin Boyce (2011), Richard Wright (2009), Simon Starling (2005), Jeremy Deller (2004) and two further nominees; Cathy Wilkes (2008) and Jim Lambie (2005). Several of the artists have exhibited at the Venice Biennale, with Martin Boyce representing Scotland with a solo presentation in 2009.

Artists represented include: Dirk Bell, Martin Boyce, Jeremy Deller, Alex Dordoy, Urs Fischer, Kim Fisher, Luke Fowler, Henrik Håkansson, Mark Handforth, Georg Herold, Thomas Houseago, Richard Hughes, Chris Johanson, Andrew Kerr, Jim Lambie, Duncan MacQuarrie, Victoria Morton, Scott Myles, Nicolas Party, Toby Paterson, Simon Periton, Manfred Pernice, Mary Redmond, Anselm Reyle, Eva Rothschild, Monika Sosnowska, Simon Starling, Katja Strunz, Tony Swain, Spencer Sweeney, Joanne Tatham & Tom O’Sullivan, Padraig Timoney, Hayley Tompkins, Sue Tompkins, Cathy Wilkes, Michael Wilkinson, Gregor Wright, Richard Wright.

The Modern Institute: Luke Fowler Solo Presentation 3rd Floor, Independent, 548 West 22nd St, New York, NY 10011. March 8-11, 2012

MODERN INSTITUTE www.themoderninstitute.com
INDEPENDENT www.independentnewyork.com/

Artprojx promotes and screens artist’s film and video programs in the context of the cinema, working in collaboration with galleries, artists, art museums and art fairs.

Artprojx Cinema at SVA Theatre New York 9-10 March 2012

In Artprojx, Artprojx Cinema, AV-arkki, David Gryn, Film and Video, Finland, Independent, Luke Fowler, New York, SVA Theatre, The Modern Institute, Timo Vaittinen, Video Art on 18/02/2012 at 10:52 am

ARTPROJX CINEMA PRESENTS
AT SVA THEATRE, NEW YORK

Friday 9 March 2012 at 8.30pm and 9.30pm
In association with The Modern Institute
A Grammar for Listening (Parts 1 – 3) & All Divided Selves by Luke Fowler

&

Saturday 10 March 2012 at 7pm and 8pm
In association with AV-arkki, The Distribution Centre For Finnish Media Art
“Mystery Show” – featuring Four Finnish Artists:
Liisa Lounila, Erkka Nissinen, Pilvi Takala, Timo Vaittinen
program 45 minutes (played twice)

at

SVA Theatre, 333 West 23rd Street (between 8th and 9th Avenues), New York, NY 10011
ENTRY IS FREE. RSVP artprojxcinema@gmail.com to reserve your seat. Mention which event and time you plan to attend.
Contact: David Gryn at david@artprojx.com and +447711127848 www.artprojx.com

MORE DETAILS:

The Modern Institute and Artprojx Cinema presents
Luke Fowler
Friday 9 March 2012 at 8.30pm and 9.30pm

A Grammar for Listening (Parts 1 – 3) 8.30pm
Silence dominated the experimental film of the 1960s. Sound or musical accompaniment was often dismissed as illustrative, manipulative or redundant. Instead, a return to experiments of early cinema concentrated on rhythm, structure and material and thereby considered film’s potential as a unique art form with its own grammar.

Prior to this tendency in film, composer John Cage had foregrounded silence within his 1953 composition ‘4’33’. Purging concerts of conventional musical content, he allowed the sounds from outside to come inside and become the focus of the audience’s attention.

These foundational ideas have led to a burgeoning music scene focused on environmental sound and field recording. Outlining some of the complexities between film and sound, Luke Fowler’s film cycle ‘A Grammar for Listening (parts 1-3)’ attempts to confront these contradictions through the possibilities afforded by 16mm film and digital sound recording devices. These three films, created in collaboration with sound artists Lee Patterson and Toshiya Tsunoda and composer Éric La Casa respectively, provide a series of collaborations and meditations on the issues raised, and propose a number of tentative navigations through.

All Divided Selves 9.30pm
The social and cultural revolutions of the 1960s were spearheaded by the charismatic, guru-like figure of Glasgow born psychiatrist R.D. Laing. In his now classic text ‘The Politics of Experience’ (1967), Laing argued that normality entailed adjusting ourselves to the mystification of an alienating and depersonalizing world. Thus, those society labels as ‘mentally ill’ are in fact ‘hyper-sane’ travelers, conducting an inner voyage through aeonic time. The film concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment and disturbed interaction in institutions as significant factors in the aetiology of human distress and suffering.

All Divided Selves reprises the vacillating responses to these radical views and the less forgiving responses to Laing’s latter career shift from well-recognized psychiatrist to celebrity poet. A dense, engaging and lyrical collage — Fowler weaves archival material with his own filmic observations — marrying a dynamic soundtrack of field recordings with recorded music by Éric La Casa, Jean-Luc Guionnet and Alasdair Roberts.

Luke Fowler
Luke Fowler (b. 1978) is an artist, filmmaker and musician based in Glasgow. His films, a collage of found footage and Fowler’s own recordings, have documented the work of British counter cultural figures including Scottish psychiatrist R. D. Laing and composer Cornelius Cardew. Through his collaboration with experimental musicians Toshia Tsunoda, Lee Patterson and Eric la Casa, he creates dynamic soundtracks of original compositions and field recordings for these works.

His new feature-length film ‘All Divided Selves’ is the third work to take up the legacy of radical psychiatrist R.D. Laing. It concentrates on archival representations of Laing and his colleagues as they struggled to acknowledge the importance of considering social environment as significant factors in human distress and suffering. The film premiered at Anthology Film Archive in New York in November 2011 and has been screened as part of the Berlin Film Festival this year.

The Modern Institute will be making a solo presentation of Luke’s new photographic prints at the Independent Fair in New York in March. His recent solo exhibitions include Inverleith House, Edinburgh; ‘All Divided Selves’, CCS Bard Galleries, Bard College, Annandale-on-Hudson, New York; Serpentine Gallery, London; ‘A Grammar For Listening’, The Modern Institute, Glasgow; and ‘Warriors’, X Initiative, New York; Kunsthaus Zürich, Zürich. Forthcoming solo exhibitions include ‘The Poor Stockinger’ at The Hepworth, Wakefield. He participated in ‘Cornelius Cardew and the Freedom of Listening’, CAC Bretigny; ‘British Art Show 7: In The Days Of The Comet’, Nottingham Contemporary, Nottingham and The Hayward Gallery, London; ‘Radical Nature’, Barbican Art Gallery, London; ‘The Associates’, DCA, Dundee; ‘What You See is Where You’re At’, The Scottish National Gallery of Modern Art, Edinburgh; Kunsthaus Zürich, Zürich; and ‘Younger than Jesus’, New Museum, New York; In 2008 he received the inaugural Derek Jarman Award.

The Modern Institute
The Modern Institute has been described by Art Review as ‘a model for galleries around the world’. Since its foundation in 1998 it has played an important role in putting Glasgow on the world art map through its association with some of the most important names in contemporary art. The gallery represents 38 artists who are regularly exhibiting internationally in museums and institutions. These include four Turner Prize winners; Martin Boyce (2011), Richard Wright (2009), Simon Starling (2005), Jeremy Deller (2004) and two further nominees; Cathy Wilkes (2008) and Jim Lambie (2005). Several of the artists have exhibited at the Venice Biennale, with Martin Boyce representing Scotland with a solo presentation in 2009.

Artists represented include: Dirk Bell, Martin Boyce, Jeremy Deller, Alex Dordoy, Urs Fischer, Kim Fisher, Luke Fowler, Henrik Håkansson, Mark Handforth, Georg Herold, Thomas Houseago, Richard Hughes, Chris Johanson, Andrew Kerr, Jim Lambie, Duncan MacQuarrie, Victoria Morton, Scott Myles, Nicolas Party, Toby Paterson, Simon Periton, Manfred Pernice, Mary Redmond, Anselm Reyle, Eva Rothschild, Monika Sosnowska, Simon Starling, Katja Strunz, Tony Swain, Spencer Sweeney, Joanne Tatham & Tom O’Sullivan, Padraig Timoney, Hayley Tompkins, Sue Tompkins, Cathy Wilkes, Michael Wilkinson, Gregor Wright, Richard Wright.

The Modern Institute: Luke Fowler Solo Presentation 3rd Floor, Independent, 548 West 22nd St, New York, NY 10011. March 8-11, 2012

MODERN INSTITUTE www.themoderninstitute.com
INDEPENDENT www.independentnewyork.com/

The Modern Institute: Luke Fowler Solo Presentation 3rd Floor, Independent, 548 West 22nd St, New York, NY 10011. March 8-11, 2012

MODERN INSTITUTE
www.themoderninstitute.com

INDEPENDENT
www.independentnewyork.com/

Artprojx Cinema & AV-arkki, The Distribution Centre For Finnish Media Art presents
“Mystery Show”
Four Finnish Artists: Liisa Lounila, Erkka Nissinen, Pilvi Takala, Timo Vaittinen
Saturday 10 March 2012 at 7pm and 8pm
followed by a reception with the artists

Liisa Lounila: PLAY>> (2003)
Timo Vaittinen: In Da Club (2006)
Erkka Nissinen: Rigid Regime (2011)
Timo Vaittinen: Central Park (2012)
Pilvi Takala: Broad Sense (2012)
Liisa Lounila: GIG (2007)
Pilvi Takala: Players (2010)
Timo Vaittinen: Mystery Show (2007)

Liisa Lounila
(born 1976 in Finland) lives and works in Helsinki. She gained an MFA from Academy of Fine Arts in 2005 in Helsinki. Lounila has exhibited nationally and internationally, including at the 8th Istanbul Biennale; Schirn Kunsthalle, Frankfurt; MAXXI, Rome; and Museum of Contemporary Art Kiasma, Helsinki. She represented Finland at the 50th Venice Biennale. Lounila is currently in residency at the ISCP in New York. Her works are also featured at VOLTA NY 2012. Lounila’s main mediums are experimental film/video, photography and painting. Her works usually deal with an obscure need for change, great expectations and places of potential. Usually her pictures, both still and moving, have their background in movies, yellow papers, lifestyle magazines and pop lyrics.

Erkka Nissinen
(Born 1975 in Finland) lives and works between Helsinki, Hong Kong and Amsterdam. He studied in The Slade School of Fine Art in London and gained an MFA degree from the Academy of Fine Arts in 2001 in Helsinki. He went to Rijksakademie van beeldende kunsten residency in Amsterdam in 2007. His works have been exhibited internationally, latest solo exhibitions at Ellen de Bruijne Project Space in Amsterdam, Smart Projects Space in Amsterdam, Helsinki City Art Museum’s Kluuvin Gallery and 1646 in Den Haag. He won the acclaimed Illy Prize during 2011 Rotterdam Art Fair. His latest work Rigid Regime (2011) was selected to the international competition of the Rotterdam Film Festival 2012. Erkka combines acting in an actual studio with simplified computer animations within his videos. His videos are characterized by absurdity, humor and deliberate clumsiness.

Pilvi Takala
(born 1980 in Finland) currently lives and works in Amsterdam. She received an MFA from The Academy of Fine Arts in Helsinki in 2006. She went to Rijksakademie van beeldende kunsten residency in Amsterdam in 2009-10. Takala’s works have been shown in museums and film festivals worldwide. She was awarded Prix de Rome 2011 for the work Broad Sense, of which a screening version will be included in the program. Her works are narratives based on site-specific interventions and actions, sort of exceptions in everyday life. The actions aim to reveal and question unwritten rules and shared truths of the specific social setting in a subtle way. The actual artworks produced based on the actions are mostly videos, but also photographs and publications.

Timo Vaittinen
(born 1976 in Finland) lives and works in Helsinki. He has studied at the Academy of Fine Arts in Helsinki and gained an MFA in 2007. Vaittinen’s works have been recently shown in Kiasma Museum of Contemporary Art in Helsinki, Living Art Museum in Reykjavik, A.L.I.C.E. gallery in Brussels and Helsinki Art Museum. His latest latest solo show was held in Pori Art Museum in Finland. Timo Vaittinen works with collage and painting and turns this mixture into a moving, spatial animation. He likes to play around with the polarities of analog and digital, import painterly approaches to producing videos and confuse the material appearances of paintings.

AV-arkki
AV-arkki is the Distribution Centre for Finnish Media Art. AV-arkki’s main purpose is to distribute and promote Finnish media art to festivals, events, museums and galleries worldwide. AV-arkki has been a pioneering distributor for over 23 years and has opened up opportunities for artists to get their works recognized internationally. The activities of AV-arkki have contributed to the success that Finnish media art enjoys today. These activities are unique in both Finland and the other Nordic countries.

Supported by the Consulate General of Finland in New York, The Finnish Cultural Institute in New York and The Finnish Cultural Foundation.

AV-arkki
www.av-arkki.fi

Facebook event page: http://www.facebook.com/events/247402388675388/

Artprojx Cinema

Artprojx is a leading brand that promotes and screens artist’s film and video programs generally in the context of the cinema. Working in collaboration with galleries, artists, art museums and art fairs. Artprojx has worked with Art Basel Miami Beach, Frieze, The Armory Show, ICA, Tate, Whitney Museum, Sadie Coles HQ, Salon 94, Gavin Brown enterprise, Gagosian, White Cube, Hauser & Wirth, Victoria Miro Gallery and many more leading international contemporary art galleries and artists. www.artprojx.com davidgryn.wordpress.com