David Gryn blog

Posts Tagged ‘Sound’

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
lg-break-up_1

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

 daata-on-untitled

Daata Editions – A 2016 Round Up

In ArtBasel, Artspace, Artsy, Daata, Daata Editions, David Gryn, Frieze, ICA, New Art Dealers, NY Times, Scott Reeder, Uncategorized, Venice, Zuecca Projects on 19/12/2016 at 12:49 pm

 

scott-7-gandolf

A Great Daata Year in 2016 and Looking Forward to Daata in 2017

2016 certainly has had its ‘quirks’ in the world-at-large, but Daata has had a truly fruitful and eventful year. With the final artwork releases from Season One, the inaugural Independent Brussels, Art for Tomorrow – NY Times Conference in Doha, launch of the Season Two artist commissions at NADA New York, launch of the Daata App, link up with Artsy for their ICA London Party, Gentrification with Hannah Quinlan and Rosie Hastings at the BBar, Bauer Hotel, Venice in collaboration with Zuecca Projects as part of the Venice Architectural Biennale, sound artworks at Chart Art Fair in Copenhagen, a Venice Film Festival project in collaboration with Zuecca Projects, POSTmatter/Wetransfer project with Saya Woolfalk, the Katherine Finerty curation ‘Reuse, remix, recode, new releases at EXPO Chicago, more new releases at Frieze London, launch of New Contemporaries curated artworks, Daata x Artspace Commissions launch with Keren Cytter, Daata on DAD x Apple TV, Virtually Me at Vanity Projects curated by Tiffany Zabludowicz, Legacy Russell’s curated project ‘#WanderingWILDING: Movement as Movement‘, a new look Daata homepage, Keren Cytter screened at Art Basel in Miami Beach and screening at Festive Cultural Traffic.

Artists whom we have released newly commissioned artworks by in 2016: Larry Achiampong, Sofie Alsbo, Thora Dolven Balke, Phoebe Boswell, Jake Chapman, Keren Cytter, Graham Dolphin, Anaïs Duplan, Melanie Eckersley, Casey Jane Ellison, Tracey Emin, Hannah Ford, Ed Fornieles, Jasmine Johnson, Joachim Koester & Stefan A. Pedersen, Sara Ludy. Scott Lyman, Michael Manning, Scott Mason, Jonathan Monaghan, Rashaad Newsome, Tameka Norris, Elise Peterson, Quayola, Hannah Quinlan & Rosie Hastings, Ariana Reines, Jacolby Satterwhite, John Skoog, Daniel Swan, Abri de Swardt, Katie Torn, Artie Vierkant, Saya Woolfalk, Zadie Xa.

Curators selecting for Daata in 2016: bitforms gallery, Gutter Records, New Contemporaries, Katherine Finerty, Legacy Russell.

Foreward texts in 2016: Loreta Lamargese, Gary Zhexi Zhang, Anton Haugen, Lindsay Howard.

Instagram takeovers thanks to Daata artists: Chloe Wise, Matt Copson, Helen Benigson, Stephen Vitiello, Florian Meisenberg, Leo Gabin, Rachel Maclean, Katie Torn, Thora Dolven Balke, Michael Manning, Jonathan Monaghan, Sara Ludy, Saya Woolfalk.

Daata in the News: i-D, Cultured Magazine, FAD Magazine, Artsy, It’s Nice That, sweet, Aston Martin, Elephant, Artspace, NY Times, POSTmatter and more.

Artists soon to be released in 2017: Yung Jake, Jillian Mayer, Camille Norment, Scott Reeder and six artists curated by Zata Banks; Laura Focarazzo, Kate Jessop, C.O. Moed, Julian Scordato, Susanne Wiegner, Antoinette Zwirchmayr. Daata will soon be announcing many other exciting plans, projects, collaborations and commissions.

Special humungous thanks to Anita Z and Danai, John, Richard, Alessandro Possati at Zuecca Projects, Andy Moss at Spike Island, Radovan & Jamie at Studio Scasacia and Sutton PR for all their work and support in 2016 to make Daata happen !!!

And with utmost thanks and huge appreciation to the artists, curators, galleries, art fairs, institutes, collectors, students, collaborators and to you the viewers who all make this possible and worthwhile.

Image: Scott Reeder, Nodes, 2016 (soon to be released on Daata in 2017)

daat-in-festive-2

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

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

 

abmb-2016

abmb16_film_final

Film & Sound at Art Basel in Miami Beach 2016. 

Curated by David Gryn, Director of Daata Editions. 

Nov 30 – Dec 3. 

Soundscape Park, New World Symphony Center, Miami Beach.

Details:

Weds Nov 30

6pm

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

8pm

Best Dressed Chicken in Town – a compilation of artworks. 

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

10pm

Double Bill: Rita Ackermann and Christian Marclay

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

Thurs Dec 1

6pm

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

8pm

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

10pm

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

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

Fri Dec 2 

6pm

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

8pm

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

10pm

Double Bill: Liliana Porter and Alfredo Jaar

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

Sat Dec 3

6pm

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

8pm

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

10pm

Love Songs – Four Films by Wilhelm Sasnal

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

Daily (Nov 30 – Dec 4)

Miami Beach Convention Center Film Library:

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

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

Talks:

Tues Nov 29. 11am-12.30pm

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

Sun Dec 4. 2-3pm

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

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

Some More Links:

Art Basel Miami Beach

New World Symphony 

Time Out Miami

papermag MEGA guide

Art Basel Film Trailer

Fountainhead Residency

Molly Palmer

Daata Editions

 

Surround Sound at Art Basel in Miami Beach 2016

In A. K. Burns, Ain Bailey, Art Basel in Miami Beach, ArtBasel, artists, Callcoon Fine Arts, Daata Editions, daataeditions, Donald Hayden, Jonathan Montague, MiamiBeach, Molly Palmer, New World Symphony, Sound, SoundScape Park, Surround, Susannah Stark, Uncategorized, Zoe Buckman on 08/11/2016 at 10:31 am
film

Image: Film & Sound at Soundscape Park (photo courtesy Art Basel)

The Surround Sound Program 2016

Featuring Artists:
Ain Bailey
Zoe Buckman
A.K. Burns
Jonathan Montague
Molly Palmer
Susannah Stark

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

Soundscape Park, New World Symphony Center, Miami Beach 

FREE 6pm-8pm Daily during Art Fair days Weds/Thurs/Fri/Sat.

Soundcloud Compilation Playlist

http://daata-editions.com http://artbasel.com http://www.fountainheadresidency.com/

This compilation of sound artworks will be played nightly during the fair from 6pm until 8pm – when the Film program starts.

In addition to the program of films, this year marks the third edition of Surround Sound, a program through which we have commissioned artists to create or reform work into Surround sound installations. This year’s artists include: Molly Palmer, Sussanah Stark, Ain Bailey, Zoe Buckman, Jonathan Montague and A.K. Burns.

The Soundscape Park experience is unique in the artworld — and a well known location for Miami locals — featuring a huge 7000 sq ft screening wall, with a 160 speaker surround sound system. In the screening area Art Basel provides large beanbag cushions – several people can lounge per cushion. It provides a great calming antidote to the frenetic pace of the Art Fair in the day and the plethoras of other events and parties at night.

NSD/TSD by Ain Bailey

NSD/TSD is a work exploring the natural acoustics of the New World Symphony Centre. This will be achieved by generating audio material from the environments internal soundscape, and composing a multichannel sound work from the resulting audio for presentation on the 160 speaker Surround Sound System in Soundscape Park. The project’s genesis stems from an ongoing research project entitled ‘AGORA’ which takes as a starting point the acoustics of sites such as churches, cinemas and gallery spaces, where people come together to form transitory assemblies.

Ain Bailey is a sound artist, living and working in London, UK. Her current practice involves an exploration of architectural acoustics, live performance, as well as collaborations with performance, visual and sonic artists. Among these is performance/visual artist Jimmy Robert, who commissioned Bailey to create a composition for his 2016 show ‘Desendances du Nu’ at the CAC-Synagogue de Delme, France. Bailey has exhibited and performed both nationally and internationally, and ‘Oh Adelaide’ her collaboration with the artist Sonia Boyce, has shown in London at Tate Britain and the Whitechapel Gallery, and The Kitchen, New York, to name but a few international art spaces. Bailey is also a doctoral scholar at Birkbeck, University of London.

One Round by Zoe Buckman

The audience stand amidst the sound of a speed bag being rhythmically hit in a boxing gym. The sound of the leather hitting the wood: hard and succinct, builds to an almost aggressive quality as it is picked up in surround sound, yet the repetition of this specific sound allows for an almost hypnotic or meditative experience.

The sounds one hears in a boxing gym have a testosterone-heavy quality to them. However during the time Buckman has spent in these spaces, she has drawn parallels between the strength, endurance and confidence needed to survive there, with female-centric experiences such as childbirth.

Zoë Buckman (b.1985, Hackney, East London) is a multi-disciplinary artist working in sculpture, photography, embroidery and installation, exploring themes of feminism, mortality and equality. Buckman’s work has been shown in solo exhibitions including Every Curve at Papillion Art, Los Angeles; Present Life at Garis & Hahn Gallery, New York and group exhibitions internationally including Truth to Power, a group show at the Democratic National Convention, Philadelphia, Making and Unmaking, at Camden Arts Centre, London, curated by Duro Olowu; For Freedoms, at Jack Shainman Gallery, NYC; Game On!, at Children’s Museum of Arts, NYC; To Be Young, Gifted & Black, Goodman Gallery, Johannesburg South Africa.

Leave No Trace (Side A) by A.K. Burns (Callicoon Fine Arts)

“Leave No Trace” is an analog audio project by A.K. Burns that is a limited edition vinyl record with a custom plastic bag, a pair of nitrile gloves and a poem. The recording combines ambient environmental recordings, the artist’s own voice, sounds generated from found materials and an old electric guitar. Leave No Trace, is part of a cycle of related works that use science fiction as a point of departure to rework relationships between bodies, nature, technology, territories and resources. The title refers to wilderness ethics as well as pointing to ways one leaves a mark, is codified and recorded.

A.K. Burns (b. 1975) lives and works in Brooklyn, NY. Burns is a 2016-17 Radcliffe Fellow through the Radcliffe Institute for Advanced Study at Harvard University, where she is developing an ongoing project, Negative Space, a cycle of multi-media installations. The opening episode A Smeary Spot, debuted at Participant Inc, NY in the Fall of 2015. A new iteration will be exhibited at the Portland Institute of Contemporary Art, September 2016. The work was initiated with the generous support of a Creative Capital Foundation Visual Arts Award and additional support for this work is being provided through the Education Department’s Spring 2017 Research & Development Season at the New Museum, where Burns is currently in residence. The residency will culminate with an exhibition opening January 2017.

http://www.akburns.net/projects/leave-no-trace/

Plundaphonic by Jonathan Montague

Ubik Radio Music Festival, Sound Installation, 2016
Using the narrative of the science fiction paradigm, the notion of self is questioned through sampling the audio back catalogue of my past. To then propose a future self of automated sounds in the format of a radio broadcast. Included is one selected track from the Radio show.

Using space as a material with the motion and affects of sound, I investigate the spatial narrative created via the inhabitation of the viewer, and the perception of sound. My background in Architecture informs the way in which work can inhabit a place and the spatial parameters of its context; giving insight into the way in which boundaries and intersections of spatial territory could be manipulated then occupied. Through investigation into the sonic potential properties of space and sound, conditions of an affect laden automated future, are addressed through access to a dialogue positioned in giving agency to dismantling notions of a predefined future. In my work I use my past as a material to sculpt and modulate, to create a future narrative. With reference to a speculative notion of self-identity, I generate work through a process of dis and re-association with the sampling of self.

Sirens by Molly Palmer
 (Supported by Fountainhead Residency)

There are sounds that follow you from place to place. In the cities while you wait for sleep, the sirens are a voice that makes a map – a long hand sketching lines between the buildings. This is a story and a song, but it is also a dream and a drawing. Sometimes a sound takes on a shape and lies down in your skull. An amoebic symbol stretching out from your bed to the edge of the night. The stereo version of this track uses binaural sound and benefits best from listening with headphones. 

Molly Palmer is a London-based artist who works within and between the media of music, installation, choreography and filmmaking. Using handmade props, sets and costumes to produce layered video worlds, she green-screens her protagonists into parallel places, where music, gesture and dialogue form cyclical narratives that explore the strangeness concealed within ordinary things. Palmer graduated from Royal Academy Schools this year, where she won the Gold Medal. Recent exhibitions and screenings include Berwick Film and Media Arts Festival, Berwick-Upon-Tweed, RA Schools Show 2016, Royal Academy, London, Talk So I can See You, curated by Pil & Galia for the Czech Cultural Foundation, London, Premiums, Royal Academy, London, The Fade : touring solo show at CCA, Glasgow, Enclave, London and Torna, Istanbul, and Mono 5, curated by Rafal Zajko at The Courtyard Theatre, Hoxton, Herðubreið Theater Cinema, Seyðisfjörður, Bikini Wax, Mexico City and MUPU, Oaxaca.

The Wheel (featuring Don Hay) by Susannah Stark 

The Wheel, featuring vocals by London-based artist/musician Donald Hayden, is a recording in two parts that run parallel, intersecting across each other and finally together at once and on top of each other in a sculptural experience. Low-fi effects create a sense of echo and disorientation, a technique that was used in dub tracks in the 70s to bring about a metaphoric space of freedom and change, punctuated by layers of disembodied, digitised voices, like those that occur in the contemporary urban environment. This history is revisited to expose and uncover elements of language embedded in our everyday experience. The Wheel is about slowing down, peeling away words on the surface: the language of advertisement, spam, media and public manipulation, telesales and broadcasting, highlighting the flow of things – language – traded in a capitalist marketplace, inviting people to look beyond the constraints of the work and the language that is presented to them.

Susannah Stark is a scottish artist and printmaker, working with multimedia installation and sound, incorporating or involving issues of voice, power and reappropriation. This is part of an ongoing process of exploring how much of the western identity can be constructed from diverse popular sources and how the mouth may be the modulator for such regurgitations and formations. Her work explores the slippages between objects and voices translated from digital experience, to highlight and challenge material hierarchies.

Soundcloud

Art Basel Press Release

Art Basel Facebook

Artlyst News

ABMB Film Trailer

TIME OUT

Join us for a talk at the New World Symphony

http://www.nws.edu/events-tickets/concerts/insights-the-music-in-film-sound-with-david-gryn/

http://www.nws.edu/events-tickets/art-basel-at-soundscape-park/

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

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

Daata-CHART-A6-Postcards-2

Daata Editions presents

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

The Sound Room will host newly launched works by

Sofie Alsbo, Thora Dolven Balke, John Skoog.

CHART Art Fair
26 – 28 August

Kunsthal Charlottenburg
Copenhagen

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

More info:
chartartfair.com

daata-editions.com

 

Cultured Magazine Interview – Daata Editions

In ABMB, Art Basel, Chloe Wise, Cultured Magazine, Daata, Daata Editions, daataeditions, David Gryn, Lindsay Howard, Uncategorized on 22/02/2016 at 11:15 am

Cultured magazine screenshot

DAVID GRYN INTERVIEW WITH LINDSAY HOWARD

Cultured Magazine – February/March 2016

http://www.cultureddigital.com/i/641424-february-march-2016/171

@davidgryn @lindsayahoward @daataeditions @cultured_mag @sarahgharrelson
LH: What are your priorities when positioning video and digital art for general audiences?
DG: The audience still wants an object to possess; they want to own it, see it and touch it. I specialize in working with film, moving image, video and sound, and have realized that these are similar to any other mediums. They can be shown, observed and collected like anything else. Ultimately it’s about developing ways to convey the artist’s intentions as clearly as possible.
LH: Are there specific strategies that you use to endear the art world to digital work?
DG: I use simple means to convey complicated, emotional or challenging works. I see my role as a conveyor, as being able to organize an exhibition, event or project without making any part too difficult. I want to be able to entice audiences toward a cinema or toward the Internet, which are two of the most natural venues for viewing moving image works. The Internet has evolved into everyone’s natural place for looking at art.
LH: How can we better empower digital artists in the marketplace?
DG: My perspective of the market has been through the lens of curating the moving image program at Art Basel Miami Beach, where I have encouraged gallerists to think about artworks such as video and sound-based pieces that they wouldn’t typically bring to an art fair because they’re difficult to sell. I’m tirelessly thinking about how to advocate for these artists and their galleries, which is what contributed to the development of Daata Editions, an online platform for video, sound and web art editions. My hope is that this will encourage more competition in the marketplace. Ideally, I would like to see galleries making their artists’ moving image work available online and do more with these works at art fairs. The inherent issue that we currently have is that the art world is led by the marketplace through art fairs and auction houses. I would like to see museums, institutions and galleries reclaim their power over what artworks and artists are most influential.
—Lindsay Howard

http://daata-editions.com

See FT How to Spend It …

http://howtospendit.ft.com/art/98161-daata-editions-an-online-gallery-for-digital-art

 

i-D: daata editions and digital art’s commercial future

In Uncategorized on 28/01/2016 at 12:00 pm

iD

Felix Petty 28 January, 2016

We speak to David Gryn of Daata Editions about creating a viable vehicle for selling art online, as the platform releases its newest collection of artworks to the public.

Ed Fornieles, Sitting

The art market can easily feel over blown, over hyped, over saturated, stuffed full of money, and of course that’s partly true, though not if you’re an artist or gallery dealing in digital work. As a recent exhibition at the Whitechapel Gallery, Electronic Superhighway, shows, computer and internet technology has been having an impact on the art world since the mid 60s, but critical acclaim and visionary work doesn’t always open up the high end art of the market, if it finds a market at all.

This is where Daata Editions come in, an online platform featuring the work of 18 artists, with work commissioned specifically for sale over the internet. The first series of works features artists as diverse, talented and striking as Ilit Azoulay, David Blandy, Ed Fornieles, Jon Rafman, Amalia Ulman, Takeshi Murata, Hannah Perry and Chloe Wise. Existing somewhere between eCommerce platform and online gallery, Daata is a new solution to a problems as old as the internet itself ; how to commodify the intangible and create a distribution model that helps artists get paid for the work they do.

Amalia Ulman, White Flag Emoji

What made you want to start Daata?
What we’re trying to do is make Daata as a model for selling digital art, not the model. I wanted Daata to be about how the internet works, how you go into a website and look at art. If you go to an art fair there are 250 galleries. They don’t operate in identical ways but they all do something very similar. They sell art, they show art, and often they represent the artists really well. We aren’t a gallery, we don’t represent artists, but we function somewhat similarly. Daata grew from the logic of a market place for digital forms of artwork, we want to commission artists to make artwork so that artists can get paid.

We need lots of galleries to have a market place. You need thousands of artists to have an art world, you need lots of museums, but when it’s digital everyone wants to be the dominant model, to have the next .com sensation. Daata is simply a model that allows us commission artists to produce work and actually pay them for it. It’s a niche entity, we aren’t trying to be all things too all people.

I want it to be easy. For me the internet seems to be an easy solution not a complicated problem, but I don’t think most of the art world has arrived there yet. The art world still seems to want to resist it because it seems quite complicated.

David Blandy, Moon

Why do you think the art world has been so resistant to the digital art market?
Well I think it’s resistant because in contemporary art there’s a traditional process to things. We know how to buy and sell a good and therefore, we want to carry on buying and selling a good — that makes sense. But if things are online, suddenly a gallery or an artist feels they have less control. To me digital is just another medium, I don’t see it as being any different to oil paintings, or sculptures. But people seem to want to know how it all works or how you fit it into the techno-modern age. But this is the age we’re in, I think the art world’s coming round to it. The digital is a real, natural language now amongst almost everybody making art. But I think the marketplace has to take it seriously, and they struggle with that, because it doesn’t hit the high prices yet. You know you can sell a painting for a million pounds, but digital work sells for a few hundred.

Hannah Perry, The Worse You Feel The Better I Look

What draws you to the artists you work with?
Many of the artists when I was commissioning them, I said I want you to feel that you can experiment and do what you will with the platform, but at least experiment as best as you can. But partly it’s about working with artists who get it. Jon Rafman and Ed Fornieles are two artists who actually gave us a lot of advice when we were setting Daata up, and we commissioned works from them. Chloe Wise is a really passionate advocate of it, she’s up for promoting herself, her work, those artists to me are very special. Not all artists can be and are like that but it’s very helpful. And many artists have to gone on to use the work we commissioned in their future projects and exhibitions.

Chloe Wise, Should I Add An Emoji?

Is it about finding a piece of work that can exist beyond the digital?
To be honest, I kind of go to the artist as opposed to the artwork. We commissioned artists who we trust. The only brief was that it couldn’t be more than three minutes long. But not every artist I know would be right for it and some artists have different ways of working — some artists don’t want their work to be sold, some artists don’t want to make money, some artists do. I wanted to go to people who are rated as artists first.

Florian Meisenberg, Rghwori

What do you think the future of Daata will end up being?
The future is indeterminable, which is nice, because we are evolving. I mean my aim is that this becomes sort of a service a bit like Netflix or Spotify. However, within its own niche, there are other ways to make money out of those things, maybe it’s sponsored? Maybe it’s supported by philanthropy? Maybe it’s connected to museums? We want the work to be available to everybody, not just those who can buy it. I think the digital world is becoming just part of our natural consciousness.

Takeshi Murata, Pumpjack Popeye

Do you think that will only increase as young people, who’ve grown up using computers, become larger parts or the art world and art market?
There are artists who just work using digital as some artists might use paint. There are artists, like Rachel Rose or Ian Cheng, who just treat is as a natural language and medium and I think that’s when it starts looking like artwork, you start believing in it as art, as opposed to you just being wowed by the technical mastery the artist possesses.

I still feel that there’s a resistance though, and I’ve seen it in quite a few art schools where you have video artists being encouraged by their art departments to put their videos into sculptural installations to give it some kind of marketable commodity and I think that’s disappointing. It feels like saying ‘let’s make the work look more complicated and buyable by making it into a sculpture’ than actually just saying, ‘well that work was good enough.’

The fourth set of Season One artworks are released 28 January and can be purchased online at daata-editions.com

CreditsText Felix Petty
All images courtesy the artists and Daata Editions
Connect to i-D’s world! Like us on Facebook, follow us on Twitter and Instagram.

The Artists Surround Sound Project – Art Basel in Miami Beach 2015

In Art Basel, Art Fair, artists, Miami, Miami Beach, New World Symphony, Sound on 03/11/2015 at 3:41 pm
e03a1_dec1_abmb_img

SoundScape Park during Film at Art Basel in Miami Beach curated by David Gryn (from the 2013 screening of Mickalene Thomas, Happy Birthday to a Beautiful Woman: A Portrait of My Mother). Image: courtesy Art Basel

The Artists Surround Sound Project

Film at Art Basel in Miami Beach 2015

Sofie Alsbo, Alice Jacobs, Mariele Neudecker, Camille Norment

Curated and organised by David Gryn of Daata Editions and Artprojx worldwide

SoundScape Park, New World Center, Miami Beach

December 2-5, 2015 at 6pm

FREE

Soundcloud trackshttps://soundcloud.com/david-gryn/sets/the-artists-surround-sound

New World Symphony https://www.nws.edu/events-tickets/art-basel-at-soundscape-park/

Facebook event https://www.facebook.com/events/140052276352255/

Talk at the New World Symphony – http://www.nws.edu/events-tickets/concerts/insights-artists-film-and-sound-with-david-gryn/

Wednesday, December 2: Mariele Neudecker

Thursday, December 3:  Sofie Alsbo

Friday, December 4: Camille Norment

Saturday, December 5: Alice Jacobs

Every evening at 6pm during Art Basel in Miami Beach, prior to the Film program, sound works by Sofie Alsbo, Alice Jacobs, Mariele Neudecker and Camille Norment will be presented at 6pm (until 8pm) on the state-of-the art surround sound system with its 160 speakers in SoundScape Park.

Nothing is going to sound quite like this …

Art Basel in Miami Beach – Talks Program

Salon talks panel (full talks program pdf)

Saturday, December 5, 2015, 2pm to 3pm

The Artists Surround Sound Project
Mariele Neudecker, Camille Norment, Sophie Alsbo, Alice Jacobs
Moderator: David Gryn, Curator of Art Basel’s Film sector and Founder of Daata Edition and Artprojx

sofiealsbo_closeEncounter

Sofie Alsbo, Close Encounter, 2015

Sofie Alsbo

Close Encounter (2015)

Close Encounter (2015) is a surround sound piece made specifically for Miami Soundscape Park as part of Surround Sound Artists Project.

Signals reaching for a wave. Roaming. Vibrations and heartbeats. Clap. A drone that bites its own tail. A circulating loop around the crowd. The body in a mass. Clap. Close Encounter enters the arena with sporadic fragments as the soundscape sway in the contrast of the physicality and transparency of the presence of sound.

Sofie Alsbo (b. 1982, Denmark) received a BA in Fine Art from Central St. Martins UAL and a Postgraduate Diploma from The Royal Academy Schools in London. Working with video, animation and sound a relationship between technology and the human body is explored as the work focuses on the pull between the internal and external space of the body and mind.

credits:

Pete Jones Music

Arge
Sound Designer
Envy Post Production

James
Producer
Envy Post Production

www.sofiealsbo.com

IMG_3555

Alice Jacobs, The Intent I Owe, 2015

Alice Jacobs

The Intent I Owe, 2015

Alter our fear, you frown me,

With her, with her, will feel form.

How dear and fairs, and soul, won’t be.

So kind, giving of being, inhabited here,

She laughed in dear o mourning.

For plans hath loved so grow,

For you, sigh and frown, whore again,

On hold, for hell or high, bitter end,

Alter our fear.

Alter our fear, who, bears flight,

When here, descend our endeavours,

So last, untold and shouts bear down.

Mere time near heart and first once stood,

Don’t lie, the bruise in the family,

In deed, were told fairs and cold.

Oh mother, her again, her screaming!

Oh you, frown hiding by our lost youth,

Alter our fear.

All men here, right, men now,

Dear here, it wont hurt to hold them,

One died, is how this all turned out.

Stay close, and hear the mothers womb,

Her voice still shakes, but I warned her,

The wounds, will hide across her face.

Dear you, only the holy shall save you,

Take care, this fear and thought of you,

Ave Maria!

The Intent I Owe, (2015) is based on Ave Maria by Schubert. Originally sung in German, here the lyrics have been transposed into an English poem. The harmonic sounds focus on religious notations of women, the iconic figure of Madonna and, by contrast, how in reality, men perceive the female as mother and sex object.

Alice Jacobs (b 1992, London) MA Royal Collage of Art (2017). BA (Hons) Central Saint Martins (2015). Uniwersytet Artystyczny w Poznaniu (2014). Jacobs addresses a feminist perspective to create a platform for the female gaze via performance, sound and sculptural media. She is interested in the visual representation of gender interaction as delineated by a patriarchal society.

Credits:

Theo Zeal, Sound Producer, UK

Milly Forrest, Voice, Royal Academy of Music, UK

Rodrigo Canas, Royal Collage of Art, UK

Louis Dowdeswell, Assistant Sound Engineer, UK

http://www.a-vaj.co.uk/

TiputiniTree1

Mariele Neudecker, Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), for 5.1 surround, 16 minutes looped, 2015 (courtesy Galerie Barbara Thumm, Berlin, Germany) PHOTO: Laurie Lax

Mariele Neudecker

Figure of 8 (Rainforest, Ecuador, sound recorded at height: 1.39m, 9.78m, 22.59m, 30.79m and 37.26m), for 5.1 surround, 16 minutes looped, 2015 (courtesy Galerie Barbara Thumm, Berlin, Germany)

’Figure of 8’ aims to create a soundscape that is artificially collaged from 3-dimensional sound-recordings that, at the time of capture, observed and co-responded with the circadian rhythm of the place. The sound implies and animates a physical shift through a physical space and a horizontal timeline, a sound experience of ‘a night in the jungle’.  Going beyond the image, Neudecker, at times, works with classical music and ‘sound data’, exploring the pathos and evocative power of ‘audio’ that is rooted in ‘ground truth’, a term used in remote sensing to describe data collected on location. In this particular location: no image, moving or still, can possibly capture what the sound manages to convey. Tiputini Biodiversity Station [Ecuador] where these recordings were taken – for a permanent, commissioned work for the new Cancer Centre at Guy’s Hospital, London, which is due to open late 2016 – is one of the most bio-diverse forests in the world. Its sounds never stop.

Mariele Neudecker [b.1965 Germany] lives and works in Bristol, UK and uses a broad range of media including sculpture, film, photography as well as sound. Her works have been exhibited widely internationally both in group- and solo-exhibitions. Her practice investigates the formation and historical dissemination of cultural constructs around the natural world and notion of a Contemporary Sublime. Neudecker often uses technology’s virtual capabilities in order to reproduce a heightened experience of nature & landscape, thus addressing the subjective and mediated condition of any first hand encounter.

credits:

Guy’s & St Thomas’ NHS Foundation Trust, London, UK

Guy’s & St Thomas’ Charity, London, UK

Futurecity, London, UK

Bath Spa University, Bath, UK

Laurie Lax and John Taylor, Bristol and Bath, UK

Jan Meinema, Creative Music Technology @ Bath Spa University, UK

Manus Pitt, BBC Natural History Unit, Bristol, UK

Tiputini Biodiversity Research Station, Universidad San Francisco de Quito, Ecuador

www.marieleneudecker.co.uk

www.bthumm.de

pastedGraphic

Camille Norment, Toll – Dissonant Image
 (Re-mixed and mastered from Toll, 2011 for 5.1 surround), 2015

Camille Norment

Toll – Dissonant Image
(Re-mixed and mastered from Toll, 2011 for 5.1 surround), 2015

Three instruments – the rare glass armonica, the Norwegian Hardanger fiddle, and the electric guitar – each, once banned for fear of the psychological, physical, or social effects they had on the body – come together in a visceral soundscape of resonance and overtone that levels beauty and noise. The title composition was influenced by Arvo Pärt’s “Fratres,” meaning ‘brotherhood,’ and puts the notion of social harmony and dissonance to question through lulling, taunting, and abrasive textures.The enveloping sonic image invokes the instruments’ relationships to notions of magic and the uncanny, hypnosis and trance, and noise as a psychological atmosphere. The powerful sonic worlds they create resonate through a tantalizing union of the instruments’ voices and their paradoxical cultural histories.

The work of artist Camille Norment guides an investigation of socio-cultural phenomena through particular instances and significations of sound and music. The aim is to produce critical artworks that are equally occupied with experiential form, and conceptual narrative.  There is a particular interest in both sonic and socio-cultural tension – parallels of dissonance – and an underlying interest in the physiological effects of sound on the body that may exceed the cultural boundaries of perception.

http://www.norment.net/

David Gryn

Curator Film and Sound at Art Basel in Miami Beach

Director, Daata Editions and Artprojx

http://daata-editions.com

http://artprojx.com

http://artbasel.com

https://davidgryn.wordpress.com

Daata Editions by Courtney Malick

In Art, artists, Daata, Daata Editions, David Gryn, Empower, Freieze, Moving Image, NADA, New York, NYC, Sound, Video on 01/06/2015 at 1:11 pm

Screen Shot 2015-06-01 at 11.07.53 copy

DAATA EDITIONS LAUNCH – A REFLECTION

by Courtney Malick

Perhaps one of the most difficult merges to successfully forge within contemporary art is between the curatorial and the commercial. Often when we seek to place what, from a curatorial perspective, seem to be productive frameworks around a grouping of artists, their work, and the ideas that they share, we lose the quality of broad universalism and “timelessness” that collectors may seek in new acquisitions to the margins of site-specificity and the binds of “context.” What makes malleable and unique projects such as Daata Editions stand out in their attempt at the pairing of these two supposedly adverse spectrums, that of the curatorial and that of the commercial, is its specific interest in artists whose work yields to the diverse but nonetheless pre-framed, non-site of the Internet. Furthermore, as both a curatorial and commercial project that is presenting new and commissioned works in video, new media and sound, Daata Editions is able to set certain guidelines beforehand, which allows visitors to the site and potential collectors of the works available there, a levelled playing field. In this way the sometimes fussy issue of context, from a curatorial standpoint, can be seen as a benefit rather than a constraint, which thus furthers the meaning of the works in question.

This platform is particularly exciting to see emerging right now, as so many younger artists, including all of those whose work appears in the first iteration of Daata Editions that launched at NADA New York in May 2015, are working in ways that resist traditional modes of exhibition, reception and therefore of collecting as well. It is important that while we continue to find new artists whose work pushes the definition of contemporary art, that there are also ever developing formats through which such work can be accessed and best understood. Older, conventional formats often found within the white cube, in which paintings are still hung on white walls and sculptures still meticulously placed on white pedestals, need not be replaced, so long as alternate avenues through which to engage with art and the complex ideas that it generates, continues to expand along with the work itself – such is clearly the admirable aim of Daata Editions. Contrary to the well trodden paths canonized by the white cube, artists such as Ed Fornieles, Jon Rafman, Amalia Ullman and the many others that Daata Editions commissioned work from, all of whom are still in relatively early stages of their practices, are specifically trouble-shooting, so to speak, in order to produce work that operates on other levels that exist in various realms including on the internet, within mobile social media systems, as apps, and generally as circuit-driven pieces of a much larger whole, as opposed to creating singular, physically tangible works that stand on their own or make one digestible statement.

For example, Ullman’s video, White Flag Emoji 1 (2015), utilizes Youtube clips and a security camera system called Dropcam and is set in various Airbnb apartments. In this way, while the work itself manifests as a singular video, its contents are fragmented and reference the online world, in its similarly fractured and link-driven nature. Such complex work still finds itself in galleries and museums, but it is most at home online, where it exists within a broader milieu and where its potential audience and collector-base can continue to grow and grow over time. Daata Editions also allows for a new generation of collectors, by commissioning works that exist within a larger edition range and are thus more affordable than most work of any media that is found and acquired through commercial galleries.

It is clear that Daata Editions allows for many new ways to think about collecting video, sound and new media art, and this exciting turn is also extended with the project’s intermittent interjections into art fairs, such as their recent collaboration with NADA New York. Though Daata Editions home base will remain online, where it has the ability to seep most easily into more and more visual and discursive outlets where its commissioned works can be seen, partnering with other commercial organizations such as NADA and Frieze among others, continues to promote their curatorial agenda and at the same time allows more potential collectors to consider new strategies for collecting editioned and digitized artworks. The more Daata Editions spreads this new methodology both online and through ongoing collaboration with various exhibition and commercially oriented organizations, the more the project’s core model will mirror the nature of the work it presents, which functions on various levels simultaneously. It is this through-line between work and methodology that makes the project especially compelling to watch as it continues to unfold.

Text taken from the Foreward at Daata Editions https://daata-editions.com/info/foreword

Courtney Malick website http://courtneymalick.com/

Daata Editions – an Introduction by Lucy Chinen

In Art, Art Basel, Artprojx, Daata, Daata Editions, David Gryn, Empower, Frieze, Marketplace, NADA, Sound, Video, Web, Zabludowicz on 28/05/2015 at 11:07 am
Daata Editions website screen grab - image still from Hannah Perry artwork

Daata Editions website screen grab – image still from Hannah Perry artwork

DAATA EDITIONS SEASON ONE LAUNCH
text by Lucy Chinen

Daata Editions is a platform for collecting artists’ video, sound and web based artwork. Dedicated to supporting artwork online, Daata Editions commissions works available in editions for purchase and exhibition, while maintaining public access for research.

For the first phase, Daata Editions has commissioned 18 artists each to create six new video, sound or web based works. Each work is available for purchase in an edition of 15. Collectors are able to acquire editions of the works through the platform, where custom certificates of authenticity are provided. The percentage absorbed by Daata Editions upon purchase is used to host another phase of commissions. In addition to the editions for purchase, artists keep two editions of each work, two editions are donated to arts institutions for exhibition, and one is kept for the Daata Editions archive for continued public access.

Artists included in the first phase of commissions: Ilit Azoulay, Helen Benigson, David Blandy, Matt Copson, Ed Fornieles, Leo Gabin, Daniel Keller, Lina Lapelyte, Rachel Maclean, Florian Meisenberg, Takeshi Murata, Hannah Perry, Jon Rafman, Charles Richardson, Amalia Ulman, Stephen Vitiello, Chloe Wise.

Daata Editions aims to serve the artists working in mediums for online distribution, while supporting further production by creating a market for the medium. Amongst the plethora of galleries, art fairs and institutional entities, Daata believes in the need for a multitude of models for art distribution online. The intention of the Daata Editions project is to be artist focussed, encouraging the creation, exhibition and collecting of artwork online.

Daata Editions is led by curator David Gryn. The platform has been built in collaboration with design agency Studio Scasascia.

The Tranches …

VIDEO

For artworks within the Video tranche, each artist has developed a specific approach to moving image which falls within a line of inquiry throughout their practice. Some create characters which evoke and complicate the familiarity of TV and movie narratives; some use found footage, isolating the context and environment which produces certain images and subcultures; while others utilise a point of view enabled by digital rendering and surveillance, making use of these technologies to imagine future scenarios. Artists who have been commissioned to create video works include: Ed Fornieles, Leo Gabin, Daniel Keller & Martti Kalliala, Florian Meisenberg, Takeshi Murata, Jon Rafman, and Amalia Ulman.

SOUND

Throughout diverse approaches, artists have created works which reflect on the acoustics of spaces and conversations; investigate material evidence of digital processes, or utilise sound as a recording device for performance. Artists who have been commissioned to create sound works include: Ilit Azoulay, Matt Copson, Leo Gabin, Lina Lapelyte, Hannah Perry, and Stephen Vitiello.

WEB

This section of commissions is based on the sensibility of emergent technologies within emerging artistic practices. Amongst the diverse styles, many of the works dislocate online material from their source, digesting it and representing it as part of a collective and personal persona. Artists who have been commissioned to create works in the section of web include: Helen Benigson, David Blandy, Rachel Maclean, Hannah Perry, Charles Richardson and Chloe Wise.

Lucy Chinen http://lucychinen.com/