David Gryn blog

Posts Tagged ‘Video’

The artwork is a digital file, yes by Pau Waelder – a new Foreword for Daata Editions

In Art Basel, Art Video, Collecting, Collector, Daata, Daata Editions, daataeditions, David Gryn, NADA, Pau Waelder, Uncategorized, Video, Video Art on 16/11/2018 at 11:26 am

pau-waelder-2016-BN

The artwork is a digital file, yes

by Pau Waelder

A new Foreword for Daata Editions

When considering how to collect digital art, we come across two preconceptions: what an artwork must be and what digital files are worth. First, it is commonly assumed that an artwork is an object with unique attributes, original, and irreplaceable. The object routinely goes from the artist’s studio to the gallery, where it is acquired by a collector. There is no doubt that it is always the same object that trades hands, and it is finally the collector who decides where the artwork is placed and who has access to it. Conceptual and performance art has challenged this notion again and again, but the artwork always finds its way into the market and the collector’s home in the form of a more or less stable object. Thus, if an artwork (a) is not an object, (b) can be copied, (c) can be accessed or experienced beyond the control of its owner(s), and/or (c) requires a computer, software and display to be at all perceivable, some may find it “difficult,” “challenging,” or even not worth collecting. This relates to the second preconception.

Our computers, tablets and smartphones are constantly storing digital files. Most of them we have created ourselves, others we have downloaded for free or for a fee. They fill the device’s storage space and force us to either copy them to other devices, store them in the cloud or delete them. Digital files are therefore constantly moved around, copied and erased, both a necessity and a burden. In most cases, we don’t know what to do with them, they just linger in folders and hidden directories until detected by a cleanup app or simply obliterated when the device that stores them reaches the end of its service life. Digital files, therefore, tend to be considered expendable in the sense that there should always be another copy somewhere. In fact, a growing segment of the entertainment industry relies on selling access to content on digital files that we temporarily store in our devices and swiftly remove when we are done watching the film, tv series, or documentary; listening to the song or podcast; reading the book, graphic novel or magazine. Many times, the file is not even downloaded, it is streamed and thus disappears the moment it is not used anymore, without leaving a trace. When we pay for the content, we either rely on it being safely stored by the provider and always conveniently accessible or we just want to experience it and never care what happens to it afterwards, because there will always be more, newer content ready to be clicked on.

My point is that artworks and digital files seem to be incompatible, due to how we tend to conceive artworks and our daily experience with digital files. Artworks are forever, digital files are ephemeral. Artworks are unique objects, digital files are immaterial worthless copies. However, an artwork does not need to be an object. In fact, a painting is not an object, it is an image that becomes a physical object because the pigment needs to be placed on a surface and canvases make it easier than walls to create, move around and sell the images. An artwork created in a digital format (a video, sound, jpeg, gif, 3D animation, browser-based piece or what have you) is not only always a copy but also the result of a software interpreting a file on a certain display, so every time it is experienced it turns out to be, in a way, a unique performance. Of course, one has to make sure that the software works with the file and that the display shows the piece as intended, but that’s all part of the artwork being something other than a static, physical object –which would nevertheless require certain conditions of placement, lighting, humidity and so forth. Finally, the artwork may be available to others even if it is safely at home and a certificate of authenticity, kept in the safe, states that no one else owns it. Artworks have a life of their own as they are viewed in exhibitions, reproduced in photographs and videos, distributed in magazines, books and blogs. Most of the art we know and love, we have never owned and will never own – even big collectors know and love much more art than they have bought. A large part of that art we have seen through reproductions, mostly on screens. It is still part of us, and for those who were lucky, smart or powerful enough to buy it, the more people who feel that the artwork is part of them, the better. For what good is it to own something that no one else knows about, that none can appreciate, that cannot be shared?

Digital art allows us to own and at the same time share an artwork – not only its reproduction. This can raise some eyebrows and insecurities. It may be argued that if the artwork is available elsewhere or that it can be copied, it loses its value. However, in addition to what I have already stated about the nature of a digital file, let us consider what Nelson Goodman found to be the difference between an original artwork and a forgery: its history of production. A digital artwork that has been purchased from a reputable source with a valid registry of authenticity has a history of production that can be established from the artist to the collector. No matter how many copies of the artwork may circulate, only the collector – or collectors if the artwork is editioned– can claim ownership and, more importantly, become part of the history of the artwork. This is not just provenance, which will matter to the next owner, but an active involvement in the existence of the artwork, its relevance and also in supporting the work of the artist. This is where Daata Editions comes in. Daata commissions art that is sold through its online platform in limited editions. The artists are paid to produce artworks that anyone can buy with a few clicks. The buyer can download the artwork and store it in her computer, on the cloud, wherever, make copies and display them on any device she owns. The rest of us can see the same artwork – watermarked – on the platform, appreciate it, maybe feel the urge to own it too. But we won’t be part of the artwork’s history, only those who bought it do. And those who are lucky or smart enough get the first edition.

Pau Waelder is a curator, writer and researcher whose work focuses on contemporary art and new media.

https://daata-editions.com/

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Notes for Bytes for Sale – Talk in Helsinki

In Bytes for Sale, Daata, Daata Editions, daataeditions, David Gryn, Digital, digital art, Helsinki, Kiasma, Uncategorized on 09/11/2018 at 5:24 pm
Screenshot 2018-11-06 at 10.58.04.png

Ollie Dook, Animal Stories, Daata Editions

 

Bytes for Sale

A talk by

David Gryn, Daata Editions

At Kiasma, Helsinki

Organised by AV-arkki http://www.av-arkki.fi/

Daata – what is it:

Daata is a commissioning platform ostensibly for artists who work with digital mediums, primarily video and sound. It exhibits and distributes online and shows the work world wide in collaboration with art fairs, galleries and museums. We have over 70 artists online and over 400 artworks.

Daata emerged from my many years focussing on showing artists moving image in the context of the cinema and leading art fairs worldwide – and realising that more needed to be done to support artists and to galvanise a somewhat reticent market place. It is designed as ‘a’ model, hopefully one of many and its aims are to be empowering (to artists, the medium, audiences etc).

https://daata-editions.com/

This talk can be summed up in two words:

PAY ARTISTS

But I was asked to speak for 40 minutes so here goes:

Is there a digital art market – in a nutshell ‘no’, but below – I will elaborate.

Community, Collaboration, Chemistries

It is a people business

I have seen many people come and go – since setting up Daata.

But the people who really care about empowerment, mutual support and collaboration survive.

Many people approach Daata to collaborate. They want to rub shoulders with the ‘cool’, with digital. They also often want Free content.

They have a unique business plan to raise millions and make billions from a dot com or major retail enterprise.

The collaborators often want us to promote their wares – but not much or nothing in return.

These are not community builders.

It is time for comprehensive unity.

This isn’t really a new thought. As I have been doing something like this for almost 20 years. Starting off with mostly analogue materials, and over time transmogrifying into digital process.

I have always dwelled on how to increase the audience/market position and the profile of digital media and this is definitely not new to me.

I have observed that the use and display of analogue or digital media at international art fairs has declined – where now you will see almost none. This is due to the fact that the the art market does not know what to do with digital media, how to sell or display digital media.

The irony is that most artists touch on digital media. Most galleries sell via digital platforms. Most museums and galleries and artists communicate via digital marketing and information.

They update their systems every so often and redesign and so on. But when you talk to Museums about collecting digital media – they are fearful, controlling, and nervous about how to protect, display, archive, sustain digital media over the next 100 years.

My simple logic is always – if I gave a Museum a Picasso or indeed a shredded Banksy – they will find a way to do all the above. Because they value it and believe in its extrinsic and intrinsic worth. 10 years ago I would not have been having the same regular conversations about VR/AR/Blockchain – but somehow the museum wants the understanding of longevity with digital mediums that absolutely no one else can know or control. 

There are those who are artists, gallerist, curators, collectors and they often purport to being really interested in collaborating – but when it gets down to it – they are mostly interested (either buy necessity or by design) in rubbing shoulders with the wealthy, the big art brands, the big sponsors, the famous artists, the big dinners etc

In working with Art Fairs over many years – I have seen a trait. They want to work with me/us to empower the medium, galleries and artists and always start off on a really great moral crusade/position. Then when it gets nearer to the actual fair – there is a lot of forgetting and not bothering that goes on. Reason: it isn’t the main feature, it doesn’t bring revenue, and audience may not connect. Art fairs missions are get galleries to pay and wealthy audiences in to buy and general public to buy tickets.

A market thrives on competition and mutual interdependence of the many. And we need to face a different joined-up approach to create audience interest and market power.

Artist relationships and support

It is a very human business and my role is to find best outcomes for the artist and those that support them too. This works best when we all collaborate best. The artists who are a delight to work with are those that you continue to work with and that works both ways. Bad reputations stick.

Control, dominance and power:

Those with hyper success and market dominance do well and survive – but that is the very extreme – the names we all know – not all artists, curators, gallerists are cut out to run multi national corporations.

Entities entering the digital space want this, the archaic market place wants this, it is a barrier to greater influence.

This is the way: so many entities want to be the market leader or power broker or in fact – there is only one solution and it is there’s. This occurs time and again with individuals saying they have the ultimate technology, the ultimate contract, the ultimate methods … it is strange that when it get to technology so many people want to have the dominant solution that we should all use.

Bizarrely the entities that say they have the ultimate contract (as an example) don’t share their contract templates, same with technologies that we should all use. In tech circles open-source is common – in art circles the sharing gene diminishes radically.

The niche collector. Sometime the video art collector is a quirk – it delineates an art form, but gives them niche power as the ‘video art collector’. Just Be an art collector, with something like a leading interest in tech mediums.

The issue with internet and digital media – is that it has its own history of market dominance, hyper valuations, ambitions to become one of the multi billion dollar elite businesses (google, facebook, amazon etc etc). However the art world does not work according to norms of business. I have watched some companies shoot for the stars and go out of business – whilst others can survive – based on their aspirations being artworld realistic.

Dedication, longevity, passion and commitment:

I believe my 30+ year duration in working in an area of limited financial reward is based on my integrity to deliver the best projects for limited resources. I have reaped recognition from years of experience and focus. This is based on my unswerving passion and commitment to make a difference in much the same way an artists has to make artworks regardless of the final sale/exhibition. My reputation is always my last project.

technology, delivery, simplicity

Making projects happen is what I have been doing. However, the value in complex set ups is hard to achieve a return. So my work uses ready made/existing materials/equipment/online/Internet/cinema and deliver usually in single screen/single file formats.

Promotion, marketing of projects:

Fence sitting doesn’t work. If you agree to work with an artist, or be in a fair, or organise anything. Give it your all. There is no value to engaging with what you are doing. There is no one else will promote your project or work as well as you. Or usually no one else promotes that which they opt to collaborate with. Which is very strange.

Solutions:

-More competition.

-Clusters of digital entities teaming up along lines of art fair models.

-marketing investment

-create ideal situations (whatever that means

-Pay artists. It provides trusted integrity to the people we purport to support.

-true collaborations

-create ‘a’ model not ‘the’ model. Semantics are key.

-Find your confidence

-Help nurture confidence

-Social-ist

-Not Capital-ist

-Don’t aim to dominate – but to collaborate

-Contracts are only any value if all parties benefit from the agreement.

We revert back to the human experience. Thru this we aim to build support systems for artists, ways to enhance the audience experience and look for best outcomes for all and conversely we strive to avoid avarice and corruption, which is an inevitable consequence of aims at huge profit and market dominance.

My model is to pay artists and/or look out for best outcomes for them. To keep a company light and limit its overheads.

My discussions with all future partners is – team up by paying artists and you have a deal.

The big collectors, collections understand the eco system and treat artists and galleries with reverence

How does he see the international art world developing and the role of galleries for digital media art in the future?

Fantasy world idea:

Museums and galleries shall usurp the art fairs and auction houses in terms of perceived dominance. The market can be led by the integrity of those who’s mission is to best serve art. To have the dominance the other way around – means that art is driven by its market powers and not its true intrinsic value of the quality of the aesthetics. To think that a Banksy artwork is of great value because of how it is sold at an auction – is indicative of the current demise we are in – but this also means that we can learn from this an react positively by shifting the focus from auction house shenanigans to museum/gallery.

I have worked with art fairs and auction houses – because they have become the dominant focus and attention for art events and exhibition – the one stop shops for audience to see much at the same time. Easy, sometimes lazy, economic rationale, it hitherto works (for some – usually the big players).

The art fair does not mean that art shown is the best – it means it is the work that is most likely to sell.

This logic – means that digital art mediums have incrementally reduced their visibility at art fairs over the years – till now there is almost none. Art fair costs are higher and the cost/income ratio has reduced – therefore the risk factor of tricky art mediums to sell are too high.

Galleries have to reclaim control of the art market from the auction house and art fair or those entities have to give back the power – by admitting that they (the galleries) have the most interest in supporting the role of the artist. The gallery business model is from selecting, exhibiting, selling and distributing the best artists. The art fair interest is to invite Galleries and audiences who pay money to be there. The auction house has no integral interest in supporting the gallery system as it predominantly benefits from the secondary market.

We need the experts of art/artist organisers, bright curators, facilitators – who’s interest is chiefly the support and promotion of artists.

The future:

Galleries and museums (and art fairs and such like): to treat digital mediums in equal terms to all other mediums.

The value of the ephemeral:

The future will be the age of the ephemeral/near-invisible art object – the digital file. The music, gamer and film industries understand the value of the download, the online link/file. Their value is in the potential volume of audience. Hitherto the artworld has never had this potential audience, as the contemporary audience is niche, and its strength has often been based on the rarity of the object and the value is centred on a very small wealthy elite audience. But our work is to either achieve the audience of those other art forms or utilise elements of it and evolve solutions to earn revenue and reward artists.

I personally don’t believe in (excessive) ownership and have always deeply valued music, dance and performances. I can pay 99c for a track of music that I value equally to any multi million dollar artwork.

I end as I began. There is only one way to work and engage with artists and that is:

PAY ARTISTS

I have to add a proviso – that this is not always possible due to restricted budgets – but if it is an aim – then it comes across and is fairly obvious to the arts community. If you can’t pay – find the best way to enable and empower artists to benefit from you working with them.

https://daata-editions.com/

 

Daata Editions New Artist Releases & NADA Miami – Coming Soon – Press Release Info

In Animal Charms, Art Basel, Art Basel in Miami Beach, Art Basel Miami Beach, Bex Ilsley, Bob Bicknell Knight, Daata, Daata Editions, daataeditions, Jakob Kudsk Steensen, Miami, NADA, Ollie Dook, Puck Verkade, Rustan Söderling, Shamus Clisset, Stine Deja, Thomas Yeomans, Uncategorized on 05/11/2018 at 10:40 am

DAATA EDITIONS NEWS 

Daata Editions is excited to announce the forthcoming release on Dec 5 of new artworks by Ollie Dook (trailer), Jakob Kudsk Steensen & Puck Verkade (trailer), along with new works selected for Daata’s Curated section by Bob Bicknell-Knight with artists featuring in Flow My Tears; Shamus Clisset, Stine Deja, Bex Ilsley, Rustan Söderling and Thomas Yeomans, to coincide with Daata featuring at NADA Miami in December 2018.

Puck 1

Image: Puck Verkade, Lucy Live, Courtesy of the artist and Daata Editions

Daata Editions at NADA Miami, 6-9 December 2018, Ice Palace Studios, 1400 North Miami Avenue, Miami, FL 33136 www.newartdealers.org/

Daata at NADA will feature new artist releases on framed iPads in the Daata Editions booth 3.01. Animal Charms, features the newly commissioned artworks by Ollie Dook (Animal Stories), Jakob Kudsk Steensen (REWILDLING) and Puck Verkade (Lucy Live), each in their own way deal with themes of evolution, extinction, preservation and new alternatively reconstructed realities where the boundaries between animal and human are blurred as part of the contemporary experience.

The works will all be available to view and buy online on December 5.

Jakob Kudsk Steensen’s video work for Daata, REWILDLING, will be on show simultaneously in conjunction with RE-ANIMATED, Kudsk Steensen’s first institutional solo show in Denmark, taking place at Tranen in Copenhagen, and curated by Toke Lykkeberg.

Daata Editions x Vanity Projects are delighted to present Puck Verkade on view at both Vanity Projects Miami and Vanity Projects NYC coinciding with the presentation at NADA. Puck’s new artwork Lucy Live will also be part of Verkade’s solo presentation at Forde in Geneva, opening on Dec 6. Puck Verkade TRAILER

Ollie Dook and his Daata commissioned works Animal Stories will feature in a group show Silly Symphony including artists; Dook, Andy Holden, Bobby, Philippe and Sputnik, Dec 8 –  Jan 5 at Ex-Baldessare in Bedford. Ollie Dook Trailer

At NADA Miami, Daata will also show new composite artwork of Tracey Emin’s six Daata Editions commissioned sound poems and will be playing Jacolby Satterwhite’s suite of eight videos En Plein Air Abstraction.

A new curated online playlist by Bob Bicknell-Knight Flow My Tears featuring artists Shamus Clisset, Stine Deja, Bex Ilsley, Jillian Mayer, Jonathan Monaghan, Rustan Söderling and Thomas Yeomans will also be available to view online. Flow My Tears TRAILER

Full Press Release attached, more information and images HERE

Daata Editions

New Art Dealers (NADA)

Trailer 

Rebel Souls – A Trailer

In Art Fair, Art Rio, ArtRio, Daata, Daata Editions, daataeditions, David Gryn, Max Reinhardt, MIRA, Rebel Souls, Sound, Uncategorized, Video, Video Art on 26/09/2018 at 2:51 am

 

Rebel souls image

Rebel Souls

curated by David Gryn & Max Reinhardt

MIRA at Art Rio, 26-30 September 2018

TRAILER https://vimeo.com/291832957

Rebel Souls is the artists video and sound program for MIRA at Art Rio, curated by David Gryn, Daata Editions with sonic accompaniment from Max Reinhardt, musician, DJ and presenter of BBC Radio 3’s Late Junction.

Rebel Souls used as its artwork selection inspiration – artworks, sounds and ideas that emanated from the rebellious and radical zones of the 1970’s – from the discordant sounds and vision of the Female Punk Artists and the rhythms, anthems and spirit of Tropicalia. Like previous projects in Moscow, Miami and London, the Gryn and Reinhardt collaboration takes the form of an artist’s moving image curated compilation, using the music and sound within the artworks as a catalyst for developing a soundscape filled with music and sonic interventions that reflects on the selected artist video program.

http://artrio.art.br/mira

Artists: Adriano Motto, Alison O’Daniel, Anna Costa e Silva, Annie Bielski, Ayrson Heráclito, Bárbara Wagner & Benjamin de Burca, BasicaTV, Dora Longo Bahia, Felipe Cama, Fernando Velazquez, Gabriela Mureb, Gina Birch, Guy Oliver, Iain Forsyth & Jane Pollard, Igor Vidor, Kim Gordon, Kota Ezawa, Jeremy Couillard, Laleh Khorramian, Lenora de Barros, Maria Laet, Matt Stokes, Puck Verkade, Rä di Martino, Rosie Carr, Rosie McGinn, Thiago Martins de Melo, Thora Dolven Balke, Tin Ojeda, Tromarama, X Ray Spex

Galleries include: 303 Gallery, A Gentil Carioca / Galeria Marilia Razuk, Anita Schwartz Galeria / Millan, Cavalo, Central Galeria, Copperfield London, Daata Editions, Dürst Britt & Mayhew, Edouard Malingue, Fortes D’Aloia & Gabriel, Galeria Movimento, Kate MacGarry, Luciana Caravello Arte Contemporânea, September Gallery, Shulamit Nazarian, Galeria Superfície, UV, Vermelho, Workplace Gallery, yours mine & ours, Zipper.

Trailer/&sound by Jacob Gryn​
Image: Jeremy Couillard
http://daata-editions.com

Rebel Souls curated by David Gryn & Max Reinhardt for MIRA at Art Rio 2018

In Art Rio, Brazil, Daata, Daata Editions, daataeditions, David Gryn, Max Reinhardt, MIRA, Music, Rebel Souls, Sound, Uncategorized, Video on 14/09/2018 at 12:38 pm

Rebel Souls without Maria large screenshot

Rebel Souls curated by David Gryn & Max Reinhardt

MIRA at Art Rio, 27-30 September. Preview 26 September

http://artrio.art.br/

Rebel Souls is the artists video and sound program for MIRA at Art Rio, curated by David Gryn, Daata Editions with sonic accompaniment from Max Reinhardt, musician, DJ and presenter of BBC Radio 3’s Late Junction.

Rebel Souls trailer – https://vimeo.com/290254453

Rebel Souls used as its artwork selection inspiration – artworks, sounds and ideas that emanated from the rebellious and radical zones of the 1970’s – from the discordant sounds and vision of the Female Punk Artists and the rhythms, anthems and spirit of Tropicalia. Like previous projects in Moscow, Miami and London, the Gryn and Reinhardt collaboration takes the form of an artist’s moving image curated compilation, using the music and sound within the artworks as a catalyst for developing a soundscape filled with music and sonic interventions that reflects on the selected artist video program.

The collaboration is designed to add a flavour to the art fair and the city, aiming at creating a sound and visual identity for the fair whilst showcasing great artist digital, video, sound artworks.

Videos by artists include works by: Adriano Motto, Alison O’Daniel, Anna Costa e Silva, Annie Bielski, Ayrson Heráclito, Bárbara Wagner & Benjamin de Burca, BasicaTV, Dora Longo Bahia, Felipe Cama, Fernando Velazquez, Gabriela Mureb, Gina Birch, Guy Oliver, Iain Forsyth & Jane Pollard, Igor Vidor, Kim Gordon, Kota Ezawa, Jeremy Couillard, Laleh Khorramian, Lenora de Barros, Maria Laet, Matt Stokes, Puck Verkade, Rä di Martino, Rosie Carr, Rosie McGinn, Thiago Martins de Melo, Thora Dolven Balke, Tin Ojeda, Tromarama, X Ray Spex

Galleries include: 303 Gallery, A Gentil Carioca / Galeria Marilia Razuk, Anita Schwartz Galeria / Millan, Cavalo, Central Galeria, Copperfield London, Daata Editions, Dürst Britt & Mayhew, Edouard Malingue, Fortes D’Aloia & Gabriel, Galeria Movimento, Kate MacGarry, Luciana Caravello Arte Contemporânea, September Gallery, Shulamit Nazarian, Galeria Superfície, UV, Vermelho, Workplace Gallery, yours mine & ours, Zipper

A Talk: Treble Souls 
David Gryn & Max Reinhardt in conversation. Moderated by Gabriela Davies. Gryn & Reinhardt joined by Davies will discuss their collaboration between the film/video & music/sound programming.

Programmes, in order of play 

Both played on 26th
Part 1 played on 27th and 29th
Part 2 played on 28th and 30th

 

Rebel Souls – part 1 (2hrs)

Kota Ezawa – Beatles Über California

Dora Longo Bahia – Silver Session – Vermelho

Gina Birch – Feminist/Scream

Laleh Khorramian – Water Panics in the Sea – SEPTEMBER Gallery

Maria Laet – Pneuma I – Galeria Marilia Razuk

Matt Stokes – these are the days – Workplace Gallery

Puck Verkade – Bon Voyage – Dürst Britt & Mayhew

Ayrson Heráclito – senegal – Zipper

Básica TV – Parade – UV

Rosie Carr – The Fall and the British Museum

Guy Oliver – And You Thought I Was Bad?

Lenora de Barros – Calaboca – Anita Schwartz Galeria + Millan

Jeremy Couillard – Moonlight Sounds – Real Estate (Unofficial Music Video) – yours mine & ours

Anna Costa e Silva – Ofereço companhia / I offer company – Galeria Superfície

Kim Gordon – Proposal For A Dance – 303 Gallery, New York

Alison O’Daniel – The Deaf Club – Shulamit Nazarian

Annie Bielski – Trash Has Stories To Tell, Too – SEPTEMBER Gallery

 

Rebel Souls – part 2 (2hrs 20mins)

Rosie McGinn – Drums

Bárbara Wagner & Benjamin de Burca – Estás Vendo Coisas / You Are Seeing Things – Fortes D’Aloia & Gabriel

Básica TV – Bottoms Up! – UV

Felipe Cama – Imagens Surradas (Selfie) – Zipper

Gina Birch – In Love, Live

Laleh Khorramian – TITLE SONG – Bauch Bein Po – SEPTEMBER Gallery

X Ray Spex – 3 songs

Fernando Velazquez – Mindscapes#9, after Cajal – Zipper

Puck Verkade – Bang, Bang – Dürst Britt & Mayhew

Adriano Motto – Horror Horror – Cavalo

Rä di Martino – Poor Poor Jerry – Copperfield, London

Thora Dolven Balke – Simulator – Cavalo

Igor Vidor – Rio Olympics 2016 – Luciana Caravello Arte Contemporânea

Thiago Martins de Melo – Bárbara Balaclava – Cavalo

Gabriela Mureb – Sem Título – baba, mmmmm, Língua – Central Galeria

Tin Ojeda – New Age Let Down – Rio Version – Daata Editions

Iain Forsyth & Jane Pollard – File under Sacred Music – Kate MacGarry

Tromarama – Serigala Militia – Edouard Malingue Gallery

Social media:

@artrio_art

@daataeditions

@davidgryn

@imaxreinhardt

Hashtags:

#rebelsouls

#artrio

#daataeditions

#davidgryn

#maxreinhardt

http://artrio.art.br/mira

Artwork design: Jeremy Couillard with David Gryn/Daata Editions

Compilation: Andy Moss at Spike Island

Trailer: Jacob Gryn

https://vimeo.com/290254453

Birdman Style – Daata Editions – Athens

In Art Athina, Art Fair, Athens, Birdman, Daata, Daata Editions, daataeditions, Elliot Dodd, Greece, Jacky Connolly, Jeremy Couillard, Scott Reeder, Stamatia Dimitrakopoulos, Uncategorized on 21/06/2018 at 2:12 pm
Jeremy Couillard 1

Image still: Jeremy Couillard
Suite for Absynth in D minus USB 1008

Daata Editions has curated a new playlist ‘Birdman Style’ for Birdman Yakitori & Pub in Athens, launched during Art Athina June 21- 24. Daata has collaborated with the fair’s Artistic Director Stamatia Dimitrakopoulos and the playlist features artists Jacky ConnollyJeremy CouillardElliot Dodd and Scott Reeder.

TRAILER

View and shop the playlist HERE

Phillip Birch – New Commission on Daata Editions – Office Shadow

In Art Basel, Art Video, Daata, Daata Editions, daataeditions, Lyles & King, Office Shadow, Phillip Birch, Uncategorized, Video, Video Art on 11/06/2018 at 12:46 pm

Office-Shadow-3 (Sisyphus Rock)

Daata Editions are excited to announce the release of Phillip Birch’s new commissioned artworks titled Office-Shadow (Personas). Birch has produced six short films that take place on a single floor of a computer generated office building. Each video acts as a single chapter of a longer narrative which is told through the point of view of a first person perspective.

Using this perspective, Birch (b. 1978, Detroit) is utilizing the language of video game design which allows the viewer to project themselves into the space as if they are themself the protagonist. The videos draw on Jungian psychology, the mundanity of office work, the visuals of Role Playing Games and the language of Greek mythology to create a world that is at once familiar and unfamiliar.

Birch is represented by Lyles & King and his recent solo exhibitions and performances include Milespires and Reliquaries, Lyles & King, NY; Entering God Mode, Jack Hanley, NY; The Crown of Modernity, 47 Canal, NY; The Hand of God, Essex Flowers, NY; The Chair After Its Method of Implementation, Cleopatra’s, NY.

TRAILER

Innovating the Future of Film in the Art World – David Gryn interview with Amy Tam – I AM FILM

In Amy Tam, Art Film, Daata, Daata Editions, daataeditions, David Gryn, Film, I AM FILM, Uncategorized, Video on 15/03/2018 at 10:03 pm
03_Krispy Kreme

Elliot Dodd, The Doctor, 2018

David Gryn is the founding director of Daata Editions, which aims to empower artists working with digital mediums, including video, sound and web via commissioning moving image and sound artworks by leading international artists. He has been the curator of the Film and Sound program at Art Basel in Miami Beach—the largest art fair in the world—for the last seven years.

For the 2018 edition of Independent New York, Sound and Video exhibiting in New York from the 8th-11th March, Gryn was selected to curate a series of artist-created video and sound experiences. The collaboration between Independent and Spring Place featured works by a range of international artists exploring digital mediums, including; Larry Achiampong, Lynda Benglis, BREYER P-ORRIDGE, Keren Cytter, Ed Fornieles, Leo Gabin, David Lynch, Laurel Nakadate, Puppies Puppies, Torbjørn Rødland, and Saya Woolfalk.

I AM FILM Founder and CEO, Amy Tam, interviewed David to discuss Daata Editions and its unique business model, that is successfully supporting and commissioning video artists within the art world.

David, how would you describe Daata Editions (Daata)?

DG: It’s an online marketplace for moving image and sound artworks. My goal is to grow the audience and awareness for this medium, while allowing prospective buyers to access the artworks at any time, from anywhere. Daata has more than 70 artists, with over 300 artworks commissioned for the platform, and all works are released entirely online. The platform works with both leading and emerging artist talents, prominent curators, writers, collectors, art fairs, art magazines, and various art world collaborators including; Amalia Ulman, Takeshi Murata, Tracey Emin, Chloe Wise, Jon Rafman, Rashaad Newsome and many more.

 

Why did you choose to create this type of platform?

DG: Although it’s changing, the art market still tends to prefer object-based artworks. There’s a sense of resistance in galleries, auction houses, and art fairs; to normalise the type of works Daata commissions, because it’s unclear how to make them as commercial as more traditional mediums. People recognise that the industry is moving in this direction and they talk about it, but they won’t engage with it in its current position.

I’m trying to treat it as normally as a painting or sculpture now, instead of waiting for the “right moment.” It’s easy to show digital artworks online, so I started Daata as an answer to that problem. It was about how to encourage all the players—the institutions, the curators, the collectors, the audiences—to treat it more seriously. To me, the solution was the possibility of pushing forward one version of a marketplace, like you might open up a gallery, but online. It is a new way of distributing and showing artists’ moving image, sound, and web-based work. I didn’t realise I was ahead of the curve until I set it up.

How would you explain the way the Daata business model works?

DG: We pay the artists up front and then we distribute the artworks at a price, and we sell the work and give the artist a royalty. It’s inherently structured as a self-sustaining economy. Currently, it’s still philanthropic in its process, and we pay all the artists. If we haven’t paid an artist, we have an equal royalty share.

The business model is effectively saying there’s a value to this work. I’ve realised, to my chagrin, that almost everyone who treats art seriously generally does so when there’s a price point. Art that is for free is very difficult to quantify for almost everybody—other than the artist. I really do value art that isn’t necessarily commercial. But with Daata, I am trying to put forward a case that you can actually “have your cake and eat it, too.” You can have this work viewed and seen for free, and you can also collect it, buy it, and have the HD version for you to play whenever and on whatever device.

Works start at 100-200 dollars, and they go up incrementally until the maximum price of around 6000 dollars, in the video section. This method encourages early purchase, and the longer a work is for sale, the more it grows in value. We’re not trying to set up an auction model, a resale model, or a celebrity artist model. No matter how prominent the artist, the value starts out pretty flat across all parts of the site.

“I can’t base our website on the most famous, most money-making artist, because then it will start becoming a website dominated by the market forces. I wanted to make it a website dominated by the artwork and the artist.”

If you get in early, you can buy major artists and future major artists at a low price, which is exciting. With Daata, we’ve established A model, not THE model. It’s just one way of doing it.

Do you think artists or gallerists (decision-makers) have more power in the sale of art today?

DG: The power of the art fair is dominant. It’s very tilted towards the market position of what pays and drives an art fair’s business model. Galleries are trying to take things into their own hands to change it, but it’s hard. The problem with the relationship with the auction house and the art fair is; it tilts it to top dollar profit, whereas, if you’re supporting all sorts of artists in your gallery business model, you’re interested in the artist and the outcomes—it’s not always about how much money each artist makes.

It’s about how you put that work into a museum and how you grow that artist’s career. That’s often the gallery’s investment—time and costs, and that’s shattered by the art fair model, with many art fairs happening almost every month. Some galleries don’t operate with a great brain anymore, because they have to keep reacting to the next art fairs. The art world needs to alter and turn on its axis better.

Do you think the resistance in the marketplace comes from insufficient demand for these types of works or from the entities controlling what’s available—like art fairs and galleries?

DG: I think it has to be treated as a central cornerstone of an art fair, not as a hidden away sideshow. In my role as Curator of Film & Sound at Art Basel in Miami Beach, I work very closely with Art Basel to try and make showing artists moving image and sound, very large and dynamic—luckily, they understand the need to empower the medium.

How does Daata fit into this context?

DG: I think there needs to be many outlets like Daata who can put their resources into supporting artists who make work, and distribute it. I keep coming across entities who want to take over the world, and I just want to take over the project I’m doing and make it the best I possibly can, within finite boundaries and borders. I don’t see what I’m doing with Daata as better or hierarchical, I just see it as being part of an art world jigsaw puzzle.

What has the demand been like in terms of sales of works?

DG: It’s great, it just needs to be more. It’s currently more sales than I’ve ever made in my part of the art world before. But to actually get to a point where there is more revenue to pay the next round of artists and not needing seed funding, it’s still got a couple of years to go. I saw the first two to three years as building and positioning within the art world. I have conversations with certain collectors repeatedly, some people are buying anonymously. There have been some people starting to buy the work more regularly that I don’t know, and they’re coming back.

How has the artist response been in terms of outcomes for the artists commissioned?

DG: The brief for making the artwork is very open and aims to enable the artist to take risk and be experimental. They have said we’ve made them feel more like they’ve been able to try out new things, and that’s been a nice challenge for some artists. They’ve said it’s informed much of their next body of work. Many of them have been shown in artist exhibitions, galleries, museums and art fairs.

As a curator, how do you get introduced to artists?

DG: We don’t have applications. We’re aware of artists in the art world, because I get to see lot of new artists and artworks from art fair prospects, art galleries, artists and so on, and I always look. I also don’t know everything, so it’s also a lot of word of mouth. In the ecosystem of artists, curators, and collectors—we trust each other’s opinions. Not all artists are the right ones for this kind of project. It isn’t a platform for a Hollywood filmmaker to dabble in making an artwork, unless they consider themselves an artist and they’re in the artist/art world ecosystem. It isn’t a platform for all.

However, there’s always room for the quirky collaboration. I have just started distributing a virtual reality project, that is working with several artists to make a composite VR artwork with several different artists in it. We’re willing to take that risk with certain people and projects —as I need to dip my toe into unchartered territories sometimes, just to keep things fresh and open to new potentials.

What would you say have been the main challenges since you started Daata?

DG: My greatest challenge is creating an understanding that this is a very normal medium, and trying to communicate that. I would say everything is a challenge, so it’s exciting. That’s why I set this up—to make a difference within a medium. I try to have a balanced program between artists who are both males and females and across backgrounds. I think about that deeply, so it’s not just a trigger reaction process of signing up the artist who put their hands up first; that’s an easier and lazy way of operating in the art world.

In terms of unexpected positive outcomes, what have you learned in the last three years?

DG: There’s lots of positive things. I don’t see my work just about how great the outcomes are for me. It’s about a project that has the best outcomes for as many people in the process as possible, and that’s always been my interest. That’s where I’m happiest. I guess it’s like I’m always looking under the stone to see what’s there, to make things better. When I work with organisations as dominant as Art Basel, I still always look to see what could make them or my project better for all parties involved. The true and integrity driven people in the art world that I work with, understand collaboration and mutual support for each other. They realise that we’re in the same game together to enhance a better world for art world artists, audience activity, and cultural pursuit.

What is working or not working about the way things work in the film industry, and how is that in contrast or comparison to Daata?

DG: I see the artwork made by an artist as an artwork and the film work made by a filmmaker is a film work. I don’t see a hybridity and a way the two work together. I still say there are many great filmmakers who are great artists—but their art is making film, whereas, the artist makes artwork. An artist will generally make an artwork without a financial position and a filmmaker will probably not make a film unless it’s got funding.

However brilliant they are as filmmakers, a film doesn’t get made because of the costs of the production, whereas an artist can often make an artwork without anyone else involved. If you’re going to make an artwork, you’ve got to make it exist to be an artist. You can’t then call yourself an artist if you haven’t got an artwork. It just doesn’t add up.

In terms of how I work with artists in Daata: I commission based on the reputation of the artist and knowledge of their past work.

“I go into the process trusting the artist to deliver the artwork as they wish. I don’t need drawing boards and proposals, as I believe in the potential of the artist to make the best decisions for their work and aim for outcome that they demand of and for their work.”
I think there are so many filmmakers who are brilliant, and to cast doubt upon them for being an artist is wrong. Usually, I’d say they’re just a great filmmaker. There are just a few that go beyond just being a great filmmaker and I believe they are genuine artists. People like Andrei Tarkovsky, David Lynch, John Waters, and Sophia Coppola. Then, there are people who successfully cross mediums like Wim Wenders and Jim Jarmusch. Sometimes, the artist becomes the Hollywood filmmaker and can lose the strength of their moving image works as an artist. I think it’s hard once you have those budgets and the media spotlight to be the same brilliant artist. The value in an artist who works alone is often in the raw edges, the roughness and the idea generation. Once that dries out and is dominated by the sheen of wealth, it can lose the interest of the greater art world.

For further information on Daata Editions visit: http://daata-editions.com. You can follow Daata Editions on Instagram and Facebook (@daataeditions).

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https://www.iam.film/press/2018/1/7/david-gryn-interview

 

Elliot Dodd, The Doctor, just released on Daata Editions

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

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

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

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

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

TRAILER

Daata Editions

Daata Editions at Independent NY & Spring Place

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

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

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

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

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

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

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

BUY THE DAATA EDITIONS ARTWORKS FEATURED AT INDEPENDENT HERE

Image: Scott Reeder, Nodes, 2017