David Gryn blog

Posts Tagged ‘Leo Gabin’

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

DAATA EDITIONS on UNTITLED, RADIO at UNTITLED, SAN FRANCISCO

In Art Fair, artists, Daata, Daata Editions, daataeditions, Hannah Perry, Joachim Koester & Stefan A. Pedersen, John Skoog, Leo Gabin, radio, Radiooooo.com, Sound, Uncategorized, Untitled on 12/01/2017 at 10:38 am
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Leo Gabin, Break Up, 2015 (courtesy the artists and Daata Editions)

DAATA EDITIONS on UNTITLED, RADIO

UNTITLED, SAN FRANCISCO
Sunday January 15, 2017 at 12 noon (PST)
Artists: Joachim Koester & Stefan A. Pedersen, Leo Gabin, John Skoog and Hannah Perry.

On Sunday January 15 at 12 noon (PST) on Untitled, Radio, Daata Editions Director, David Gryn will present sound works by artists Joachim Koester & Stefan A. Pedersen, Leo Gabin, John Skoog and Hannah Perry.

UNTITLED, RADIO – A live broadcast that takes the place of the customary program of conversations and talks, offering a unique roster of interviews, performances, curated playlists, and sound-based works.

UNTITLED, RADIO is organized by Director of Programming and Development, Amanda Schmitt with San Francisco Programming and Development Advisor, Juana Berrio.

UNTITLED, ART is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art. Untitled, Art innovates the standard fair model by selecting a curatorial team to identify, and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue. Since 2014 the curatorial team has consisted of Christophe Boutin, Omar López-Chahoud and Melanie Scarciglia. The inaugural edition of UNTITLED, SAN FRANCISCO will take place at the historic Pier 70 in the Dogpatch neighborhood, January 13 – 15, 2017.

THE WATTIS INSTITUTE for Contemporary Arts will build a temporary bar on-site at the fair, inspired by the Wattis Bar – an intimate gathering place designed by the artist Oscar Tuazon. The bar will serve as the hub for Untitled, Radio, as a site to host public programs, and a meeting place throughout the course of the fair.

DAATA EDITIONS commissions artist video, sound, poetry and web. This new and innovative way to collect art is designed specifically to be a native platform to a new generation of artists who work with moving image and sound. Limited edition artworks can be viewed and acquired as digital downloads.

Artworks selected from Daata Editions are …

Joachim Koester & Stefan A. Pedersen – Bamboo Grove
Leo Gabin – The Heart Wants
Leo Gabin – Awesome
Leo Gabin – Break Up
Leo Gabin – Aliens
John Skoog – iPhone
John Skoog – Marijuana Mars
Hannah Perry – Sick off smoke
Hannah Perry – Keep the peace

These are all available to hear and acquire at http://daata-editions.com

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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

Loreta Lamargese text on Daata Editions

In Art, Art Basel, Art Fair, Chloe Wise, Daata, Digital, Frieze, Gryn, Hammer, NADA, Online, Rafman, Sound, Stoschek, Video, Zabludowicz on 19/10/2015 at 10:54 am
Chloe Wise, should I add an emoji, 2015 (courtesy the artist and Daata Editions)

Chloe Wise, should I add an emoji, 2015 (courtesy the artist and Daata Editions)

Loreta Lamargese on Daata Editions

Daata Editions offers a novel platform to solve a longstanding concern: how to commodify, collect, and distribute intangible and already-networked digital artwork. Probing this question reveals a nested paradox: while we’ve become increasingly reliant upon and enthralled by the digital, artworks that employ new media are thought of as being positioned outside the art market. It is becoming more and more difficult to disentangle ourselves from the digital web and artists – like all those included in the three artwork releases from Daata Editions Season One – are using its medial language to engage with their surroundings. At the same time, it is inane to think that we don’t rely heavily on the market – one that has thus far been thought to absorb only singular and static objects – and that the market isn’t a chief harbinger controlling which artworks and artists receive visibility and clout. And yet, many artists who reject a tradition of trading solely in tangible and discrete art objects, who use digitality as both a site that needs mining and as a material to be manipulated, are visible and powerful contenders in the current contemporary art arena.

What makes Daata Editions particularly significant at our present moment is that it fuses the seeming discord between the market and digital material, organizing artists’ video, sound, and web-based work and having that work available online as editions. In fact, Daata makes clear that these two apparently dissonant entities depend on similar structures, relying on a rapid and seamless transition of information; both are, after all, networked and global. The artists presented in Daata Editions are producing works that operate beyond the sanctified walls of galleries and are experimenting with the fungibility of concepts that fit diverse media and operate on these diverse platforms simultaneously. Similarly, while Daata is primarily stationed online, it does not limit itself to the borderless web, involving additional presentations at art fairs such as a recent collaboration with NADA New York.

Now with its third artwork release, it is safe to say the initial hypothesis that launched the platform is true: that when given an intuitive mode to consume and sell digital artwork – when given the opportunity to purchase new media on indigenous soil- collectors would take ownership. Editions by artists such as Amalia Ulman, Chloe Wise, Ed Fornieles, Jon Rafman, and Leo Gabin made available through Daata Editions are now housed in preeminent international collections including the Hammer Museum, Los Angeles, The Zabludowicz Collection, London, and The Julia Stoschek Collection in Dusseldorf. And while private collectors and institutions alike fold moving images and sound works into their collections, artists continue to expand the limits of contemporary art practices, renegotiating our reliance on any particular medium or site.

While I’m hesitant to stress the intrinsically utopic qualities of digital art, its malleability with place and material affords it distance from hermeneutic singularity or ontological fixity. The dynamic chain of reformatting that these digital works undergo lends them to active and multifarious meanings and concepts. For example, Chloe Wise’s series created for Daata Editions, Do You Really Think He Fingered Her?, sees the artist subverting the notion of determined and legible identification. In this collection of videos, we find a friend and collaborator of the artist, Robyn Fox, reciting overheard phrases and the Twitter feeds of Art Basel Miami Beach attendees and friends of the artist. Because Fox is costumed in Wise’s clothes and because Wise often uses her own image in her artwork, we are compelled to read Fox as Wise, collapsing barriers of individualization normally fixed to bodies. And why shouldn’t we? If the video itself, as well as the material from social media that Fox recites, proliferates on multiple channels and in different formats at overlapping intervals, then why should identities and meaning be fixed and contained rather than performed and adaptable?

Since its emergence, artists working with video have struggled to monetize their practice while making hefty contributions to the history of art, changing our modes of perceiving and altering our relationship to objects and images. The current generation of young artists working in new media, including those presented in Daata Editions, is widening the net of possibilities under which image creation and circulation can exist. They are entering the conversation at a vital moment, one in which new economic platforms attempt to keep up with them, finding original means to sell and distribute migrant and non-discrete objects. Daata Editions is an early contributor to this new economy, which not only considers but also focuses and exists within the digital realm. Now entering its third artwork release, Daata Editions has tested these murky waters, shedding light on the possibilities of nurturing and distributing artwork that gains dynamism through circulation – through the very media it takes from.

Loreta Lamargese is a curator and researcher based in Montreal, Canada and works at Galerie Division

Galerie Division http://www.galeriedivision.com/montreal/

Daata Editions http://daata-editions.com

Collecting on the Cloud, a digital exchange with David Gryn of Daata by Sylvia Wu, SCREEN

In Art, Art Basel, Daata Editions, Digital, Frieze, SCREEN, Sound, Video, Web, Zabludowicz on 10/10/2015 at 7:55 pm

photo: David Gryn by Jane Bustin

Sylvia Wu’s conversation with David Gryn, director of Daata Editions, On New Models of Selling Digital Art, is now live on SCREEN, a New York-based bilingual platform aiming to redefine media art.

http://www.onscreentoday.com/conversation/art-collecting-in-the-air

With the fall coming up, the relatively quiet holiday season will burst into a kaleidoscope of exhibitions and events. Alongside the physical world, several online sales platforms are also making their voices heard. Daata Editions, created by Art Basel’s Curator of Film, David Gryn, and collector Anita Zabludowicz, is among the most active. Launched in May this year, Daata Editions has made some great sales of its artist commissioned video, sound and web art editions, and perhaps more importantly, it has established a fresh model for selling and buying digital art. On its website, Daata Editions has currently two releases from “Season 1” of artist commissioned works including a collaboration between Martti Kalliala and Daniel Keller, and videos by Takeshi Murata. To figure out more about Daata’s language and concepts, SCREEN was in conversation with David Gryn, who previously said “We need to believe that, in the same way we easily buy music and films online via the likes of iTunes or Amazon, we can buy art via digital files and not have to [physically] possess an object to give a work its validation”1

SCREEN: We know that you curate Art Basel’s film sector where you can observe the market for digital art. But how exactly did the initial idea of creating Daata Editions come to you?

David Gryn: I worked with Art Basel for five years, and before that with various major other art fairs. It was obvious that galleries really don’t think about bringing films, videos, sound and other digital media to art fairs because they haven’t found a way to sell them. It dawned to me that something needs to be done about this, not just by one person but by many. I’ve never been a big believer in the market place per se, but I do believe that you need to have a market place where artists who make good digital artworks can be supported.

So our model of creating Daata Editions is the idea to start commissioning artists, paying them and giving them royalties, marketing the process and what they create, and I came together with these thoughts with collector and philanthropist Anita Zabludowicz, whom I’ve known for a long time. We came from different spectrums of the art world, me working with the art directly and not involved in the market place, while Anita collecting art passionately but also supporting artists and students. She believes in the ecosystem of the art world like I do, and the evolving concept of Daata was something we mutually agreed with.

S: What differs Daata Editions from other online sales platforms?

DG: We are not trying to be different. What we are building is our own bespoke, boutique model. I’m not looking at this being reinventing the wheel, but that we’ve created Daata Editions to present artists who make artworks with digital media, video, web, sound works. It works for that medium as well as we can possibly do within a finite model. Where it may differ from others is that we are very restricted to what we are focused on doing—we are commissioning, any one time, currently 18 artists per “season”. We pay the artists upfront to make the works, which is quite unusual in the art world. They also receive a royalty, which is also quite unusual.

A snapshot of the “Artists” page on the Daata Editions website. The background picture is a frame from Leo Gabin’s “Write Your Name”.

I hope that there are many models, and we are one of many. My view is that we’ll do it very well and hopefully other people will also do well. Just like you need many good galleries in an art fair, and you need many of them in a neighborhood to make it an art center that people might travel to visit. One good thing doesn’t form a market place, but often dominance. What often happens with digital business in the art world is that there’s a desire to be dominant because of the idea of monopoly. You could be the next big thing, the next Facebook or the next Twitter. We are not trying to be that. We are trying to put artists at the center of what we are doing, representing mediums that are actually very much commonplace amongst artists. Really commonplace. It’s almost ridiculous that most artists use digital media even if they are painters, to some degree to research or to communicate. But somehow the art market hasn’t found a way to reflect that yet. And galleries really find it difficult to find a business model around those works and how to find the commodified market place. We are working with art forms that are still finding their feet in that area but we are also working with them because we believe that those are true artists, not some freak shows. All the artists we work with are artists that are emerging and somehow emerged—simply talented artists and digital media is just the way they work.

S: But you seem to have a different language or vocabulary for the components within your model? What’s different about the works in the category “Web”? What’s a “season” (it easily reminds people of TV shows on websites like Netflix)?

DG: A lot of things are about semantics here. It’s trying to find a way to describe what we are doing. You might have noticed that we call everything artists’ video, artists’ sound, artists’ web, because what we see is that artists make the works. It’s not just video art, sounds art or web art—sometimes these are quite old and clumsy terms. The category “Web” is still an amorphous area of different forms of artworks, maybe a website, a video, or GIFs, but it’s enabling us to have different technologies within a section. Right now it’s probably ostensibly things that you could call video in our video section, but they are just made by slightly more emerging artists. With the “seasons”, it is a way of defining what each cycle is. As we were launching, we wanted to give a flavor that Season 1 is the first commissioning cycle. Like on Netflix, you might have a second season, which is a new cycle. What I think of the languages of Netflix is that you go back to Season 1 and Season 2 when you are on Season 10, but are still delighted to look at those seasons. You don’t think of them any less just because they are “older”, and in some cases you realize you have to look at those first.

A snapshot of the “Art” page on the Daata Editions website, where artworks are categorized as “Video”, “Sound” and “Web”.

S: How do you select the artists for each season? How does the collaboration work?

DG: It goes back to what I mentioned as an ecosystem. The artists all have a pretty good aura around them. A few of them recently graduated, like Helen Benigson, Matt Copson, Lina Lapelyte and Charles Richardson. And then there’s others that we have been working with for years and are well known. David Blandy has done a lot of works about gaming and sound cultures. Ed Fornieles and Jon Rafman are both advisors to our project. Leo Gabin, for instance, produce video and film works, but for Daata they have also made sound works for the first time. It’s therefore exciting to commission something that these artists haven’t focused on before. We show them online, but they can be purchased and shown offline. In other words, they are not solely dependent on the online platform. We commission the artists without saying what they should make for us, only that the work should be around 3 minutes or less. The idea is that the works will be fresh, quick and spontaneous. We limit what we do but we never judge the works. There’s no sending back to the artists or saying that we don’t like the works. That’s risky but it’s the way we wanted it to be—trust the artists to deliver. Our business model is a self-sustaining company. The aim is that each cycle is paid for from the previous one, but the artists get paid upfront regardless of sales.

Takeshi Murata, OM Passenger, HD Video, mp4, 0:40 mins ( artwork page on Daata https://daata-editions.com/art/video/takeshi-murata-om-passenger )

S: What about the choice of the website design?

DG: We did something similar with the designer of the website. Studio Scasascia, the company we worked with designed the website of a favorite record company of mine. As I’m comfortable buying music online, I hope to use this model to sell artists’ works as well. My brief to the designers was that we wanted the artists to be the center of the website. We wanted it to be an aesthetically pleasing and also simple platform, doing not more than showing and selling 18 artists’ commissioned works. We commissioned 6 works from each artist, plus one by Jon Rafman, which is free for downloading from the website. Meanwhile all the works can be viewed without registration or payment.

Jon Rafman, Oh the Humanity, HD Video, mp4, 3:00 mins, Unlimited edition.

A certificate for Jon Rafman’s “Oh the Humanity”.

S: Now that the works can be fully accessed on the website, what marks the difference between viewing and owning the works? What do you think drives a collector to purchase something non-physical?

DG: For one artwork, there’s 15 editions for sale. When you purchase one work you can download the high resolution file and own an edition of that work. The price goes up by $100 (in web and sound) or $200 (in video) after each edition sells. The price of a final artwork, for instance in video, can be $5600, which in my view, is probably closest to what the artwork is actually worth. In this way, we want to make it transparent and accessible, so that the works become affordable for many more people. Of course not everyone buys an artwork of $100, but this price is quite cheap for a quality artwork. So we are talking about people who believe in art. We are not trying to convince people who think it’s not worth it, because they might say the same thing about Picasso and Matisse. But still we want those people to be able to watch the works. Unlike Youtube where you find millions of videos and sounds, we are an artist based platform and we show artworks. What drives the collectors is their wish to own artworks, similar to how they come into a gallery or an auction house to buy artworks of other media. I think a collector can do both.

S: How is Daata Editions and your artists doing so far?

DG: We have made some major sales to major art collectors and collections. We will be announcing those in October when we launch the third release. It is in fact magical for us because these are the biggest collectors of this kind of media. It’s also brilliant for the artists because they are now in those big collections. Some of them will truly start their career from this, which could have taken more years for their works to be found or purchased via galleries. Actually, many of the artists on our site don’t have galleries yet. For those who do, several galleries are keen for us to show their artists, because evolving a market for any artist is difficult. So we see what we do as a supportive act. We promote the artists but don’t actually represent them.

Lina Lapelyte, Hunky Bluff ACT2 – Never was a shade, CD Quality sound, wav, 2:57 mins, ( artwork page on Daata https://daata-editions.com/art/sound/lina-lapelyte-hunky-bluff-act2-never-was-a-shade )

S: What’s the sales agreement between Daata Editions and its customers? Do you have something like customer service? What happens if a file is damaged or lost?

DG: If the file on your computer is damaged or lost, you can download again from the website. We won’t make it a problem, since the collectors own the file and their names are on the certificate. If they want to give it to another person and transfer the ownership, they go to the website and change the certificate and then download it in the new owner’s name. Also the collectors can always log in their accounts on our website and view their purchased items online. If a different operating system exists, we will adjust the files to make sure the works play well on it. We want to make the whole process simple and friendly instead of making a prison contract that you enter into. You buy an artwork, and you can view it on whatever platform, and within reason, you can show it in your home and in your office. Of course if you want to show it publicly, the artist owns the intellectual property, and we need to go back to the artist. But we operate based on the trust in the buyer. The art world I operate in is all about good will and credibility, and this world should believe in itself. We don’t want to make the buying of digital art a problem before it’s happened.

S: Did you set a goal of any sort?

DG: We are working with artists, whose natural language is digital and online. We set up this platform with the goal that in the near future people are happy to buy, play and show artworks digitally on their devices. If a gallery can’t sell digital artworks or any time-based media easily, then the artists become compelled to make paintings, sculptures, installations that are easier to commodify. I see digital media equally to the traditional mediums such as painting and sculpture. I hope they can be seen equally by all. With most artists touching upon digital media in some way, we anticipate there will be a real market and audiences will have the confidence to engage with it.

S: Are you confident about creating a “virtual” market for artists and collectors?

DG: Yes. I do think it’s a natural development. It’s not a contrived market because I do believe we are getting to the point where real artists are making really good artworks with digital means. Technology, as their tools, are being used brilliantly. It’s no longer a romanticism of digital media. But again we don’t want to be the only platform to show artists working with digital media. Currently we can’t do more than 18 artists in a season because obviously we, as a small team, are limited. I’d love to think galleries can look at what we are doing and similar companies like ours can copy us, because I believe galleries are the ultimate and best placed curator of the artists they represent. However, many galleries can’t think of doing it, because perhaps they can’t do it properly or still lack the desire. That’s why I think we have to evolve different market places. Not all artworks are sold in the same way. There should be different sales or rental models, but what bonds them, makes them co-exist and move forward together are dialogues and communications. Hopefully we are a powerful voice and I do believe that we are empowering the market place by making people believe they can buy what we have commissioned from the artists and create various commercial relationships.

1 See ANNY SHAW, “Collectors join forces to co-commission digital art”, THE ART NEWSPAPER, 18 June 2015, http://theartnewspaper.com/reports/156860/

Daata Editions 3rd Artwork Released on 12 Oct

In Artprojx, Charles Richardson, Daata, Daata Editions, David Gryn, Frieze, Frieze Art Fair, Jon Rafman, Salon 94, Sound, Takeshi Murata, Video, Web on 28/09/2015 at 2:00 pm
Takeshi Murata, Plant Whisperer (2015). Courtesy the artist and Daata Editions.

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

Daata Editions, the online platform for the sale of commissioned artist video, sound and web editions, is pleased to announce the third artwork release for Season One. The artworks will be available at http://daata-editions.com from 5pm on Monday 12 October with a special release event at the Daata Editions Lounge at the Zabludowicz Collection. The release coincides with the Jon Rafman and Charles Richardson shows opening at the Zabludowicz Collection.

Daata Editions was developed to enable audiences to view contemporary artists who are working in digital mediums, showing artworks made for, and therefore best viewable on, laptops, iPads, iPhones, screens and even cinemas. This new and innovative way to collect art is designed specifically to be a native platform to a new generation of artists who work with moving image and sound, and to empower artists, audiences and the marketplace in an area of artistic practice that remains underrepresented within traditional art market models.

For Season One, Daata Editions has commissioned 18 artists to create six new artworks each in editions of 20, with 15 going on sale to the public via the website and five others automatically put aside for philanthropy. All artworks last no longer than approximately three minutes and are made in ways that challenge traditional modes of exhibition, reception and, therefore, of collecting as well. Daata Editions artists commissioned for the Season One are: 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.

David Gryn, Director of Daata Editions, said: “It is important that while we continue to find new artists whose work pushes the definition of contemporary art, we also develop formats through which such work can be best accessed and understood. We also need far more competition from similar platforms that commission, show and sell digitally made art online to empower artists, audiences and the marketplace alike.”

In addition to the commissions available for purchase, all subscribers to the platform receive a free Jon Rafman artwork, made specifically for Daata Editions.

To watch the trailer for the third artwork release, please click here.

Event

Daata Editions 3rd Artwork Release Launch
Monday 12 October, 5 – 6pm
Daata Editions Lounge @ the Zabludowicz Collection
176 Prince of Wales Road
London NW5 3PT
RSVP to hannah@suttonpr.com

Artworks in Daata Editions 3rd Release (Season One)

Video
Ed Fornieles – Climbing
Leo Gabin – Ain’t Gon Do It
Daniel Keller & Martti Kalliala – Exitscape 3
Florian Meisenberg – hihihihihihihihih
Takeshi Murata – Plant Whisperer
Amalia Ulman – White Flag Emoji 3

Sound
Ilit Azoulay – Object #3
Matt Copson – Booty Call
Leo Gabin – Aliens
Lina Lapelyte – Hunky Bluff Act 3
Hannah Perry – sick off smoke
Stephen Vitiello – In The Woods (after Tana French)

Web
Helen Benigson – Cluck, Cluck, Cluck 3
David Blandy – Mist
Rachel Maclean – Let It Go Part 3
Hannah Perry – the worse you feel the better I look
Charles Richardson – Extra
Chloe Wise – should i add an emoji

(All works are 2015)

Press Information

Hannah Gompertz, SUTTON
+44 (0)207 813 3577 | hannah@suttonpr.com

Making it rain ! Selected works from Daata Editions Season One at TIFF

In Daata, Daata Editions, film festival, Takeshi Murata, The Drake Hotel, TIFF, Toronto International Film Festival on 10/09/2015 at 3:44 pm
Takeshi Murata OM Making it rain

Takeshi Murata, Making It Rain (2015). Courtesy the artist and Daata Editions

Toronto International Film Festival: Wavelengths

September 10-19, 2015

Making it rain !

Selected works from Daata Editions Season One

Featuring selected Daata Editions artists: Jon Rafman, David Blandy, Ed Fornieles, Leo Gabin, Daniel Keller & Martti Kalliala, Rachel Maclean, Florian Meisenberg, Takeshi Murata, Hannah Perry, Charles Richardson, Chloe Wise. 

Selected by David Gryn, Director of Daata Editions and Curator of Film, Art Basel in Miami Beach.

For TIFF’s 2015 offsite program, the Drake is thrilled to collaborate with Daata Editions to present a program of digital works by 12 international artists. This program is designed to invite viewers to consider the moving image outside of formal exhibition spaces and bring new media more directly into our environments.

The program will be screened at the Queen West Hotel on screens throughout and nightly on the façade of hotel’s downtown location, Drake One Fifty. In addition, the entire programme will be screened with sound in the Hotel’s private dining room, on September 12 and 13, noon-5pm offering a more cinematic experience.

Making it rain ! 

List of Daata Editions artworks

Jon Rafman – Oh the humanity
David Blandy – Ice
Ed Fornieles – Bathing
Leo Gabin – Girlhood
Daniel Keller and Martti Kalliala – Exitscape 1
Rachel Maclean – Let It Go – Part 1
Florian Meisenberg – the_tacit_one
Takeshi Murata – OM Making It Rain
Hannah Perry – aahhhhhh
Charles Richardson – Carramesh
Chloe Wise – she’s so talented
David Blandy – Ruin
Ed Fornieles – Falling
Leo Gabin – Write your name
Daniel Keller and Martti Kalliala – Exitscape 2
Rachel Maclean – Let It Go – Part 2
Florian Meisenberg – somewhere_sideways
Takeshi Murata – OM Passenger
Hannah Perry – Useless
Charles Richardson – 27th March
Chloe Wise – do you really think he fingered her

Location:

Drake Hotel

1150 Queen Street West

Toronto, ON M6J 1J3

&

Drake One Fifty

150 York St

Toronto, ON M5H 3S5

More information:

daata-editions.com

thedrakehotel.ca

tiff.net

Daata Editions at Super Woofer featuring Matt Copson 

In artists, Daata, Daata Editions, Gallery, London, Matt's Gallery, Mile End, Super Wofer, X Marks the Bokship on 28/07/2015 at 9:22 am
matt-copson-broadcast_1

Matt Copson, Broadcast (2015)

Daata Editions presents

Moralise the Masses, a new performance by Matt Copson

Curated by Dani Papadimitrou

at 

Super Woofer sound fair at X Marks the Bökship at Matt’s Gallery

Daata Editions is featuring at Super Woofer, a one-day sound fair, organised by X Marks the Bökship at Matt’s Gallery, London. Focussing on the Daata Editions Sound section artists that include Ilit Azoulay, Matt Copson, Leo Gabin, Lina Lapelyte, Hannah Perry, Stephen Vitiello, Daata Editions presents Moralise the Masses, a new performance by Matt Copson.

Moralise the Masses features Reynard Incarnate, Matt’s fox alter-ego, with a live monologue and musical accompaniment by Alex White and Mark William. Expect lascivious sax and lots of shouting.

Super Woofer sound fair has invited artists and audio publishers to have stalls for selling and displaying analogue and digital audio works, including: Keith Harrison, Plastique Fanstastique, Benedict Drew, Marcia Farquhar, Leo Chadburn, Mikatsiu, John Lawrence, Daniela Cascella, Robert Pratt, Cesura // Acceso, Erinyes, Flange Zoo, 38b, Exploit.zzxjoanw.Gen, Girolamo Marri, Drawing Room Confessions, Sonic Imperfections, Trestle Records, Matt’s Gallery, Consumer Waste, Editions of You, Top Nice, DISFIGMENT/BANKRUPSEA, The Cast of the Crystal Set, Dancehall, Sinkhole, Lost Toy Records, WE.

Fair date & hours:

August 1, 2015

1 – 8pm

Matt Copson performance: 5pm

Location:

X Marks the Bökship

Matt’s Gallery 42 – 44 Copperfield Road, Mile End, London E3 4RR

More information: www.bokship.org

Daata Editions featured in Elephant Magazine – Summer 2015

In Art, Art Basel, artists, Daata Editions, Elephant, Frieze, Magazine, Moving Image, NADA, Post-Internet, Video on 29/06/2015 at 12:00 pm
ed-fornieles-bathing

Ed Fornieles, Bathing (2015). Courtesy the artist and Daata Editions

Daata-Editions

Dates: Ongoing

Daata-Editions launched its online platform for the sale of video, web and sound editions at NADA, Frieze New York, Salon 94 and Soho House this spring. The simple and extremely well designed project allows collectors to easily and confidently download digital art forms that have until now been thought of as difficult to acquire.

“It’s about creating an economy for artists working in these mediums during a curious time of change” says founder David Gryn, who has been working with artists for over twenty years, including curating the film programme at Art Basel Miami Beach. “People think that online is some kind of mythological space where things happen automatically, but that’s not the case. We need to encourage artists to know that these mediums are valued.”

‘Season One’ of Daata-Editions sees 18 artists including Ed Forneiles, Leo Gabin, Chloe Wise, Florian Meisenberg, David Blandy, Hannah Perry and Ilit Azoulay commissioned to produce six works, no longer than three minutes long each, which will be released on the site regularly. The artists are commissioned and paid in full for the works, as well as receiving royalties on the sale of the editions, and are free to experiment entirely on their artworks.

You can view and buy the works at www.daata-editions.com

by Molly Taylor, Elephant Magazine

2015-04-02-Daata-FriezeQuarterPageAd-draft02-2 copy

Taken from the latest print issue of Elephant Magazine

Elephant, Issue 23, Summer 2015 – What is Post Internet Art ?

Pages 19, 29, 135, 136

Elephant and Daata image

The Digital Revolutionaries on the Salon 94 Bowery Video Wall – last few days

In ABMB, artists, Bowery, Daata, Daata Editions, LoveWins, New Museum, New York, NYC, Salon 94, Shiboogi, Video on 27/06/2015 at 11:31 am
Shiboogi

Image still: Shiboogi by Takeshi Murata, 2012

THE DIGITAL REVOLUTIONARIES

THE SHIBOOGI VERSION

With videos by artists

Ed Fornieles, Leo Gabin, Florian Meisenberg, Takeshi Murata, Hannah Perry, Jon Rafman, Amalia Ulman, Chloe Wise

Curated by David Gryn, Director of Daata Editions

ends June 30, 2015

Salon 94 is pleased to present The Digital Revolutionaries: The Shiboogi Version on the video wall at 243 Bowery.

David Gryn, Director of Daata Editions, has curated a special selection of videos for screening on the video wall (and viewable online at Salon 94). The Daata Editions screening program celebrates the launch of the new online platform http://daata-editions.com by showing a selection of recent moving image works by artists commissioned to make new works for Daata (now available online). Daata places artists at the center of the project and encourages a marketplace and means for distribution that supports artists working across digital media.

The Digital Revolutionaries is all of us. The digital realm is now our natural language and its evolution is ours. These artists make work that reflect on how we use the internet in personal and clichéd ways. What does it mean to surf and go online in our everyday experience? What are the references, inspirations and new kinds of vocabulary? Many of these works derive from public video sharing sites like Youtube, sourcing and super-cutting the accessible moments that resonate. The generation of Digital Revolutionaries make art with, for, from and about this medium, the internet.

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

PROGRAM / ARTISTS

Ed Fornieles
Aging sucks (small), 2014
Courtesy: the artist, Carlos/Ishikawa

Leo Gabin
Hair Long, 2013
Courtesy: the artist, Peres Projects, Elizabeth Dee

Ed Fornieles
Angele short (small), 2014
Courtesy: the artist, Carlos/Ishikawa

Florian Meisenberg
Gentrified Harddrive (ultra echokinesis), 2014
Courtesy: the artist, Simone Subal, Kate MacGarry, Wentrup Gallery, Mendes Wood DM

Ed Fornieles
Boy, 2014
Courtesy: the artist, Carlos/Ishikawa

Takeshi Murata
Shiboogi, 2012
Courtesy: the artist, Salon 94, Ratio 3

Ed Fornieles
Death, 2014
Courtesy: the artist, Carlos/Ishikawa

Hannah Perry
A Little Thing, 2012
Courtesy: the artist

Ed Fornieles
Girl face (large), 2014
Courtesy: the artist, Carlos/Ishikawa

Jon Rafman
Popova-Lissitzky Office Complex, 2013
Courtesy: the artist, Feuer/Mesler, Seventeen Gallery

Ed Fornieles
Glasses, 2014
Courtesy: the artist, Carlos/Ishikawa

Amalia Ulman
Excellences & Perfections (Instagram Update 17th May 2014), 2014
Courtesy: the artist

Ed Fornieles
Mom help, 2014
Courtesy: the artist, Carlos/Ishikawa

Chloe Wise
Offer Ending Soon (petite), 2015
Courtesy: the artist, Galerie Division

Ed Fornieles
Shadow, 2014
Courtesy: the artist, Carlos/Ishikawa

Contact and location:

Salon 94 243 BOWERY NEW YORK, NY 10002 T: 212 979 0001 http://www.salon94.com

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http://www.salon94.com/video-wall/the-digital-revolutionaries-the-shiboogi-version