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Posts Tagged ‘POSTmatter’

Daata Editions News – Frieze Art Fair Week 2016

In artie vierkant, Artspace, Daata, Daata Editions, daataeditions, David Gryn, David Risley Gallery, Frieze, Frieze Art Fair, keren cytter, new contemporaries, Uncategorized on 01/10/2016 at 10:30 am




Daata Editions will be launching new artworks online and at Frieze London in the Reading Room, featuring artists: Keren Cytter, Melanie Eckersley, Hannah Ford, Ed Fornieles, Jasmine Johnson, Scott Lyman, Scott Mason, Ariana Reines, Daniel Swan, Abri de Swardt, Artie Vierkant. 

Daata Editions is collaborating with New Contemporaries, Gutter Records, Elephant MagazinePOSTmatter / WeTransfer (featuring Saya Woolfalk), FAD, alongside a co-commission project with Artspace launching with a new video work by artist Keren Cytter called ‘Terrorist of Love’ which will be available for FREE download via both websites. A new ‘Curated’ section is now live on the platform, through which guest curators will introduce new artists’ works on the website, launching with Katherine Finerty as curator and introducing artist Phoebe Boswell to the Daata platform. New York based curator and writer Lindsay Howard has written the new foreword to the website. Daata is screening selected new artworks at Cultural Traffic, a new print publishing arts fair.


Art Meets Tech: The Democratisation of Art an article by Moira Benigson: http://thembsgroup.co.uk/internal/art-meets-tech-the-democratisation-of-art/

Frieze London, Reading Room
Daata Editions will be screening newly commissioned artworks at Frieze London’s Reading Room, October 6 – 9 2016, by artists Ed Fornieles, Ariana Reines, Daniel Swan, Artie Vierkant and Keren Cytter.

New Contemporaries
Daata Editions will also feature new commissioned artworks by artists selected by New Contemporaries, artists include: Melanie Eckersley, Hannah Ford, Jasmine Johnson, Scott Lyman, Scott Mason, Abri de Swardt.


Daata Editions & Artspace co-commission

Daata x Artspace Commissions: Keren Cytter, Terrorist of Love, 2016:                          Daata Editions and Artspace have collaborated to co-commission a video work by the artist Keren Cytter, which will be available for FREE download from Tuesday Oct 4 & Wednesday Oct 5 on both websites.

Daata Editions will host a talk at Frieze London Reading Room, on Friday 7 October, 12.30pm with artist Keren Cytter and Andrew Goldstein, Editor in Chief, Artspace, in conversation. https://www.facebook.com/events/1608517026108863/

Artspace will be screening Terrorist of Love at Sunday Art Fair, 6-9 October at Ambika P3

Frieze Art Fair, London

Artspace @ Sunday Art Fair


More Info
Daata Editions and Artspace are delighted to announce the offer of a new co-commissioned video work by Keren Cytter as a downloadable collectible edition, free of charge. The video entitled ‘Terrorist of Love’ continues the New York based artist’s experimental filmmaking practice that subverts cinematic tropes, layers multiple fractured narratives, and reflexively refers to the medium. Tapping into a viral strain of humour found on Tumblr and GIF-sharing sites, the video is as chuckle-worthy as it is contemplative. Using a fixed 4K camera, Cytter shot the video in one take, before devising an unconventional music video format in post-production using key framing, meme-like imagery, and an original soundtrack—an unprecedented approach to video-making in any genre.


Lindsay Howard a text for Daata Editions
Curator Lindsay Howard will contribute in the Foreword section of Daata Editions, presenting a text on the platform and the new artworks release. The text will become available to read online together with the launch of the new artworks during Frieze London. https://daata-editions.com/info/foreword



Daata Editions at Cultural Traffic
A New Print Publishing Arts Fair

CULTURAL TRAFFIC is launched by editor, designer and collector Toby Mott who says: “CULTURAL TRAFFIC is a fascinating window into the flourishing post-digital zine scene”.
Daata will screen works by: Keren Cytter, Ed Fornieles, Ariana Reines, Daniel Swan, Artie Vierkant / New Contemporaries selects Melanie Eckersley, Hannah Ford, Jasmine Johnson, Scott Lyman, Scott Mason, Abri de Swardt (all released at Frieze London) / Larry Achiampong, Casey Jane Ellison, Rashaad Newsome, Tameka Norris, Saya Woolfalk / Gutter Records has selected Jake Chapman, Graham Dolphin, Joachim Koester & Stefan A. Pedersen (all released at EXPO Chicago)

CULTURAL TRAFFIC: Friday/Saturday 7–8th October 2016.
Juju’s Bar & Stage, Old Truman Brewery, Ely’s Yard, 15 Hanbury Street, London, E1 6QR
For further info contact: culturaltraffic@gmail.com
New Curated section on Daata Editions website
We are excited to announce the launch of a new section on the website, titled ‘Curated’ through which Daata Editions will invite guest curators to introduce new artists’ works on the website. The curators will be asked to make a selection of Daata Editions artworks as well as present works by other artists, in a way that facilitates the artistic conversation and creates a dialogue between the platform and various contemporary art practices.

Our inaugural curator is Katherine Finerty, who presents works by Daata Editions artists Tameka Norris and Rashaad Newsome, alongside a video artwork by Phoebe Boswell. All of these works address interrogating identity politics through a digital confessional portrait of sorts, employing sound, communication and voice (from inflection and cadence to signification and representation) to challenge stereotypes, double consciousness, and modes of self expression / storytelling. The Curated section launched online during EXPO Chicago, September 22 – 25.

EXPO Chicago
Daata Editions participated at EXPO CHICAGO, the International Exposition of Contemporary & Modern Art, September 22 – 25 presenting newly commissioned artworks by Daata Editions artists: Larry Achiampong, Casey Jane Ellison, Rashaad Newsome, Tameka Norris, Saya Woolfalk.
In addition, Daata Editions has commissioned Gutter Records, a record store and label for music made by artists based at David Risley Gallery, Copenhagen, to select artists for the Daata Editions website. Gutter Records has selected Jake Chapman, Graham Dolphin, Joachim Koester & Stefan A. Pedersen, whose works for the platform were also presented during the fair.

The newly launched artworks were joined by other recently released artists on Daata, including: Sofie Alsbo, Thora Dolven Balke, Tracey Emin, Michael Manning, Rashaad Newsome (sound works), Hannah Quinlan & Rosie Hastings, Jacolby Satterwhite, John Skoog, Katie Torn and bitforms gallery selects Sara Ludy, Jonathan Monaghan and Quayola.



Saya Woolfalk – Colour Mixing Machine

POSTmatter Collaboration
We are excited to announce our collaboration with the digital publication POSTmatter and the file sharing online platform WeTransfer, for the launch of Saya Woolfalk’s commission for Daata Editions, collectively titled ‘Color Mixing Machine’.

Saya Woolfalk’s works went online at Daata Editions on Thursday 8 September to coincide with the launch of a custom-made wallpaper created by the artist and presented by Daata Editions and POSTmatter on WeTransfer. In addition, POSTmatter presented an interview with the artist, focusing on her practice, which spans from performance to digital practices, and the Emphatics, her fictional future female species.

Saya Woolfalk’s ‘Color Mixing Machine’ series formed part of Daata Editions presentation at EXPO Chicago, September 22 – 25, with a solo screen installation in the main fair. In addition, POSTmatter will present the works in the launching party of its redesigned site and first online issue ‘New Mythologies’ in London on September 29th at Second Home London Fields.

Saya Woolfalk’s works on Daata Editions:

Saya Woolfalk POSTmatter interview:

There is Much More Exciting News, Announcements & Adventures coming very soon …

Saya Woolfalk – All the colours of a rainbow

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



by POSTmatter Editors | September 7, 2016


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

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

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

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

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

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

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

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

Saya is represented by Leslie Tonkonow Gallery NYC