David Gryn blog

Posts Tagged ‘Moving Image’

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 …


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






Strangelove Moving Image Festival at Central Saint Martins 16-20 March 2015

In ABMB, Art, daataeditions, David Gryn, Film, Lethaby, Terry Smith, Video on 15/03/2015 at 9:24 pm



A festival conceived by Terry Smith, artist and David Gryn, curator, along with Mark Dunhill, Dean at CSM – to bring an art school together, empowering and engaging students, teaching staff, artists and general public via moving image from every arts discipline across Central Saint Martins.

More links:








Strangelove Moving Image Festival 16-20 March 2015

In Art Basel Miami Beach, Artprojx, Artprojx Cinema, Central St Martins, CSM, Daata, Daata Editions, David Gryn, Kings Cross, Strangelove, Terry Smith, University of the Arts, Workinprogress on 27/02/2015 at 12:59 pm

Still from OM Rider (2013) by Takeshi Murata, courtesy Salon 94 and Ratio 3

Central Saint Martins is pleased to announce Strangelove – an ambitious college wide moving image festival devised and programmed in collaboration with artist Terry Smith (workinprogress) and curator David Gryn (Artprojx).

Usingspaces throughout the Kings Cross campus the festival programme will include screenings, installations, talks, workshop, events and symposia to generate cross-disciplinary discussions and draw attention to the way moving image has become an inescapable part of our everyday experience.

The festival will celebrate the diversity of moving image practice and explore the relationship between art, fashion, communication design, drama, performance and popular culture featuring the work of students through to prominent and established international artists, designers, directors, screen writers and performers.

19 events, as well as the exhibition in the Lethaby Gallery, will be open to the public, allowing a glimpse into the fascinating and innovative world of moving image at Central Saint Martins.

Throughout the Festival there will be an information desk in the Crossing at the front of the Granary Building.

Featuring artists including:

Anne Bean, Babette Mangolte, Beatrice Gibson, Brian Alfred, Brian Bress, Cecile B. Evans, Charles Richardson, Ciprian Mureşan, Clunie Reid, Dara Birnbaum, David Blandy, Douglas Gordon, David Austen, David Bickerstaff, Elizabeth Price, Gary Stevens, Gun Holmström, Hayal Pozanti, Jennifer Reeder, Joan Jonas, John Smith, Jon Rafman, Jordan Baseman, Kevin Frilet, Larry Achiampong, Laurie Simmons, Leo Gabin, Livia Benavides, Mark Wallinger, Marnie Weber, Martha Rosler, Maya Watanabe, Mikhail Karikis, Nate Boyce, Ornana Films, Parker Ito, Paul Bush, Prem Sarjo, Rachel Rose, Rashaad Newsome, Saya Woolfalk, Scott Reeder, Stephen Irwin, Susan Hiller, Tabor Robak, Takeshi Murata, Tony Grisoni, Veronika Reichl, Vest&Page, Wolfgang and Christoph Lauenstein, Yan Xing and many many more artists, film makers, students, teaching staff with their works from across the Central Saint Martin’s creative and artistic disciplines and output.

For the official and comprehensive information with booking details – see http://strangelove2015.tumblr.com/

Tuesday 17th March | 14.30 – 17:30
Studio Theatre
UAL staff and students only

Other guests can get access – more information on how – coming very soon – email artprojx@gmail.com


Armchair Surfers Digital Revolutionaries (Screening)

Tuesday 17th March.

14.30 – 17:30

Studio Theatre
UAL staff and students only

Curated by David Gryn and Terry Smith

We are all digital revolutionaries – as we use, observe and interrogate this ever-developing medium that extends, entrances and baffles us in equal measure. These programmes present works that engage with our everyday static surfing and obsessive interaction with the natural language andour enamour with all things digital and internet.

Screening programme


Still: Un Chien Andalou, Ciprian Mureşan 2004, 51” David Nolan Gallery, Wilkinson Gallery

Part 1: IP Overlords
Running Time: 48 mins

Un ChienAndalou, Ciprian Mureşan 2004, 51” David Nolan Gallery, Wilkinson Gallery
A-PHAN-OUSIA, Maya Watanabe 2008, 4’45” 80m2 LiviaBenavides
Rock Your Body, Brian Bress 2005, 4’45” Cherry and Martin Gallery
A Lifetime of Likes, Hayal Pozanti 2014, 25” Jessica Silverman Gallery
Vatican Vibes, Tabor Robak 2011, 5’16”, team gallery
The Tent, Elizabeth Price, 2012, 12’, MOT International
IP Overlords, Hayal Pozanti 2014 12” Jessica Silverman Gallery
Oh Baby, Leo Gabin, 2013, 2’49” Elizabeth Dee Gallery, Peres Projects
Scroll Sequence, Nate Boyce, 2014 5’33” Altman Siegel Gallery
OM Rider, Takeshi Murata 2013 11’39” Salon 94, Ratio 3
Mobile Blinders, Hayal Pozanti 2014, 15” Jessica Silverman Gallery

Parker Ito Wipeout XL 2014 (screen res) 4

Still: Wipeout XL (Miami Beach), Parker Ito 2014, 15’44” Chateau Shatto

Part 2: Wet Dave (boom boom)
Running Time: 50 mins

ChimaTek: Hybridization Machine, Saya Woolfalk 2013 3’40” Leslie Tonkonow Gallery
Under Thunder and Fluorescent Lights, Brian Alfred 2014 3’, Ameringer McEnery Yohe
Wipeout XL (Miami Beach), Parker Ito 2014, 15’44” Chateau Shatto
Virtual Diaspora, Hayal Pozanti, 2014 22” Jessica Silverman Gallery
Rehearsal (Miami edit), Charles Richardson, 2014 4’ Cabin Gallery
A Minute Ago, Rachel Rose 2014 8’43’’ Pilar Corrias Gallery
Empathy Box, Hayal Pozanti 2014, 22” 2014, 25”, Jessica Silverman Gallery
Wet Dave (boom boom), Clunie Reid 2009 5’34” MOT International
KNOT, Rashaad Newsome 2014 4’ Marlborough Gallery
Juan Gris Dream House, Jon Rafman 2013 2’ Zach Feuer Gallery

Barefoot Skank

Soundtrack to Samurai Story by David Blandy, Barefoot Skank, by Nick Raphael / Manasseh Sound System with Artprojx in Dub

Part 3: How happy a thing can be
Running Time: 47 mins

Samurai Story, David Blandy and Manasseh 2008 8’10” Seventeen and Artprojx, commissioned by Parabola
How happy a Thing can be, Cecile B. Evans 2014 9’30’
How to make extinction, David Blandy 2014, 9’48”, Seventeen
F for Fibonacci, Beatrice Gibson, 2014, 16’20” Laura Bartlett Gallery
To Bite, Biters (Larry Achiampong and David Blandy), 2015, 3’35”

morgan sucker

Still: A Million Miles Away, Jennifer Reeder, 2014

Wednesday 18th March


Studio Theatre

In Focus screenings by

Martha Rosler

Mark Wallinger

Susan Hiller

Douglas Gordon

Yan Xing

Jordan Baseman

Laurie Simmons

Scott Reeder

Jennifer Reeder

Strangelove London website – for upcoming and future festival in London and worldwide




David Gryn


Artprojx worldwide

Curator, Art Basel in Miami Beach Dec 2015

Daata Editions launching May 2014


David Gryn notes for LOOP Barcelona on his engagement with the Artists Moving Image World

In Art, Art Basel Miami Beach, Art Fair, Artprojx, Artprojx Cinema, Barcelona, Central Saint Martins, Cinema, David Gryn, Film, Gryn, Jane Bustin, London, LOOP, Miami, Miami Beach, Video Art on 12/06/2014 at 10:21 am





David Gryn, Founding Director of Artprojx.

Over the last 15 years I have presented major artists projects and screenings of artists’ moving image including during major international art fair periods such as during Frieze, Armory NY, Independent NY, Art Basel in Miami Beach and at LOOP and also working with leading art galleries, artists and institutes around the world, and always thinking about their prospective and potential audience. The logic being that of creating generally cinematic based screening events focusing the attention on the art work and delivering an audience for the projects often at a time when there are always plethoras of other audience demanding events going on. However in our current art climate – the art fair is dominating the art experience landscape and thus the audience, but screenings of artists films are probably one of the only times an audience is truly watching a work or works of art during an art fair period, whilst the main activity in the art fair is mainly focused on the sale of the art work. We have to put the moving image, performance and sound at the heart of the art fair experience to create a perception and a reality of its powerful place in our contemporary art world.

There are ever-more artists making moving image as their focus, part of their practice or even as purely documentation and technologies are making the quality ever-better, far easier and cheaper, the galleries, institutes and art fairs are showing ever-less. The artist moving image, the installation, the live event are a kind of ‘last bastion’ of pure art, where it remains ‘art’, fairly untainted by commercial attributes and demands, it is not easy to sell, own, view or digest easily.

My view is of an egalitarian, enabling, engaging and empowering environment for all parties involved to feel they have a role; artists, galleries, general public, art fairs, collectors, students. This is achieved by venerating and putting the artists and artwork at the centre of the live, public, commercial and digital art experience. Utilizing all platforms for the showing of artists’ work and creating social events and experiences in our digitally focused, time-limited and commercially dominated age. I believe we have to create audiences focused programming that operates with philanthropic and passionate attributes to the showing of moving image art works.

I hear film and often know instinctively whether it is great, good or not. Films like all art works have charismatic characteristics and it is often clear of the author’s voice, ego, charisma coming through based on techniques, sound, tone, visual impact, fonts, titles, which all combine and their chemistry results in the art work and its impact. A great work of art may linger in my head and heart for weeks and sometimes years after viewing it. I am most often lead by the sound of a film and that is what captivates me and can remain trapped in my mind far beyond the actual memory of the moments of watching the film. Film is primarily a visual language, however my memory is activated by the music, sound and the audio sense of what I see. I often distractedly look at films on my computer, but with the detritus of daily life, I look away to do other things and yet a good film will be heard throughout my distractions, as it may have a pace, a melancholy, a tension that keeps my listening focused, in much the same way as a great piece of music may leap out or emerge on the radio from the generally mundane or bland selections.

The world we inhabit is avowedly a human one and the work we do is best served and benefited from when done so with a modicum of love and passion, it is the unaccountable and immeasurable ingredient that we all know is there and vital in so many other walks of life. The art world at its most crassest end is just about business, albeit sometimes done with genuine appreciation and value of it being art, but rarely more than about the shifting of commodities. At the coal-face of the art world – it is not a business, it is a process more akin to love and passion and not commercially quantifiable and the best artists, gallerists, art fairs, collectors all show these traits to some degree. When I do a project showing artists film, I aim to think about the space, the place and the context of the screening and how we can make connections, how does it all relate and interact and how can all parties involved benefit. I am fascinated by the relationship between the makers, the audience, the venue and locality and the spaces in-between, how audience reacts and how we can work together for projects. In brief, my work is joining together all the dots.

My work is often connecting to and collaborating with a screening project, either via the artist or their gallery and to enable an audience to understand directly what they are coming to and that the environment is suited to them sitting for lengthy periods, basically managing expectations where possible and sometimes surprising people too. In brief I see my role as an orchestrator of encouragement for all parties on any given project. This is made simple in the context of the cinema, as they are designed for viewing film, and our now cultural awareness and expectations in these places are durational, to be focused, observational, as well as suspending our reality and allowing fantasy to reign. However, there are always exceptions to rules – and some works are simply made to have fleeting glances at them and thus the looped film rears its complicated head.

I had hoped by now in this decade that the ‘cinema’ would be host to regular artists screenings and that there would have been a box office revolution and we would now be in a nirvana of artists earning money via ticketing or even downloads (akin to music concerts/Hollywood film screenings and online music purchase) and not dependent on ownership, sales and complex public funding. In reality, there is not yet wide and unlimited interest in artists moving image, as it remains a medium that is not mass commercial entertainment, and that is also a really huge relief. Whilst we want the largest number of people to see works we show or make, art as magical rarity, unique and the unfathomable is where much of its value lays. We are living in a wonderful changing world, with our digital revolution in full swing.

Our expectations are ever changing and evolving, our viewing habits are shifting and accommodating new technologies. A recent comment by a leading USA museum director to me was that in the age of Netflix, how can we compete and show film in the museum and still attract an audience? My view is that we have to be more vigilant, inventive and create the right environments for showing this area of artist practice and output.

The future is always going to be changeable – but the fact is that we must engage better with the online experience for viewing of and interacting with art, but that instead of being a mirror to an art world, it has to learn how to make its own world and be seen as true art as any other platform art is shown on or made for.


3 Day Forum on Engaging audiences LOOP Studies June 5-7 2014

In Artprojx, Artprojx Cinema, Benjamin Cook, David Gryn, Harun Farocki, LOOP, Lux, Mark Coetzee, Mark Nash, Sherry Dobbin on 14/05/2014 at 10:12 pm




on Engaging audiences. LOOP Studies.  June 5-7 2014


LOOP Panels 2014 Engaging audiences is conceived as a series of discussions, panels and presentations that are meant to open up a space for professional encounters. Its objective is to collectively examine the concerns and challenges in the field of dissemination of artist films and videos.

What is the specific power of moving images towards audiences? How do the different audiences approach and consume these types of artworks? What challenges does a work of this sort face once it has been produced? Is it possible to characterize the publics that consume moving image art in a context of visual literacy? How is the behaviour of audiences affected by the familiarity with moving images in general? How do the various dissemination strategies foster greater appropriation of such products? What evaluation criteria must be defined in order to measure the impact of moving image works on art publics? Do we need to think ahead of screenings and exhibitions or interpret them even in new ways?

Following the interest of consolidating LOOP Barcelona as the international reference platform in the moving image sector, we found the need to discuss the current state of affairs regarding dissemination strategies and how they promote public reception, consumption and appropriation. Hence, LOOP Festival and LOOP Panels will tackle these issues both from the artistic practices and the generation of discourses. The ultimate goal is to strengthen a community of international agents involved with the production and dissemination of moving image based art practices through the exchange of knowledge.

JUNE 5th

What is the specific power of moving image and how has it empowered audiences historically?
Harun Farocki, artist and filmmaker, in conversation with Mark Nash, curator and writer.

Release formats: screenings, exhibitions & video forums, TV channels, urban inititatives. What is the effectiveness of each one towards audiences?
Jaap Guldemond, Director of Exhibitions at EYE Film Museum.
Marcus Kreiss, Curator and Director of Souvenirs from Earth.
David Gryn, Founding Director of Artprojx.
Sherry Dobbin, Director of Public Art for Times Square Arts.
Moderator: Christine van Assche, Centre Pompidou Curator at Large.

JUNE 6th

Pedagogical approaches – Importance, necessity and role towards publics
Ben Cook, Founder Director of LUX.
Bjørnstjerne Christiansen, artist member of Superflex art collective.
François Michaud, Chief Curator of Musée d’art Moderne Ville de Paris.
Javier Rodrigo, professor, art researcher, member of Transductores.

Creating new audiences for art institutions
Ron Magliozzi, Associate Curator, Department of Film at MoMA.
Carolina López, Director of Xcèntric, film section of CCCB.

JUNE 7th

Developing programmes and researching based on audiences
Mark Coetzee, Director and Chief Curator, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA).
Fariba Derakhshani, Programme Coordinator Awards Prince Claus Fund.
Valentijn Byvanck, Director of Marres, House for Contemporary Culture, Maastricht.

What role do media technologies play in closing the gap between audiences and the moving image art?
Lev Manovich, Director of the Software Studies Initiative, published author and professor.
José Luis de Vicente, Head Curator of Sónar+D, writer and researcher.
Calle Pelayo Nº 28, Barcelona (Metro Plaza Cataluña)

Regular price: 90 euros
Register now! Limited seating.
Discounts may apply.



David Gryn – Artprojx – An overview of his engagement with the artists moving image world