Sedition was featured in the bilingual (English/French) journal of Contemporary art in Quebec, Canada, ETC Media. The publication is dedicated to presenting media and digital practices in terms of its aesthetic, sociological, political and technological impact. The article features an interview with Sedition director, Rory Blain on digital art collecting.
“The art itself is the true purpose of Sedition, but we must admit that the possibility of reselling has been a great reassurance to a lot of people who are collecting these digital editions. Since we opened the “Trade” section, Ryoji Ikeda has been a star performer on the secondary market with the digital edition of his artwork “A Single Number That Has 124,761,600 Digits”, which started out at £5 and is now selling for £70 to £75. This gives a sense of ownership to the collectors who bought it and who can now see how its value has quickly risen. In terms of real ownership, though, it is no different from owning a physical artwork in the sense that the imagery always resides with the artist, no matter who buys it.
I think that, in the end, it is an educational process: people need to get used to the idea of a digital edition, just as they took years to get used to the idea that an arrangement of pigment on canvas has an intrinsic value. It’s exactly the same with an arrangement of pixels on the screen: the reason why it has an intrinsic value is because the artist designed it, and what you are paying for is that artist’s idea.” - Rory Blain
“Collecting Art in the Age of Access: Interview with Rory Blain, Director of Sedition”, Paul Waelder, ETC Media, Montreal, No. 102, 2014, pp.52-61.
Read the full article (in English and French): Download PDF
Show us how you view your artworks at home or on the move this summer. The best three photos will receive a £50 Sedition Gift Card to spend on artworks of your choice.
Sedition allows you to bring your art with you anywhere you go no matter whether you’re in the office, at home, or on a beach. Share with us how you view your artworks by your favourite artist whether it’s Tracey Emin, Wim Wenders or Universal Everything.
All you have to do is take a photo and post it to #artonscreens on Twitter, Instagram or Facebook and mention @seditionart or email us at: firstname.lastname@example.org. Don’t forget to mention your location and the name of the artist. The best photos will be featured on our Facebook and blog. There is a good chance yours will be selected!
Submit your photos by: 14 September 2014, midnight London, GMT. Recipients of the £50 Gift Card will be announced on: 16 September 2014.
We look forward to seeing your #artonscreens!
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We’ll be posting some of our staff photos here throughout the month. So watch this space.
Contemporary Art For Screens
Art Anywhere You Go
Sedition is excited to be returning to the Hospital Club in Covent Garden to present an exhibition of screen-based art by some of the worlds leading contemporary artists: Elmgreen & Dragset, Damien Hirst, Yoko Ono, Tracey Emin, Mat Collishaw, AES + F, Jenny Holzer, Lee Lee Nam and also Isaac Julien.
Join us for the private view on 17th July at The Hospital Club Gallery. Artworks will be displayed digitally on the latest curved OLED And ULTRA HD4K screens from global technology brand LG, NEW HORIZONS and is aimed to explore the screen as a medium to display artworks.
Members and non-members of Sedition can browse digital editions of artworks within the gallery and also start their own digital art collection. Artworks will be available for sale as gift cards that can be purchased and sent to friends to redeem on the site.
We hope that you can make it!
18 – 20 July 2014, 11am-6pm
Private view: Thursday, 17 July 2014, 7-9pm
The Hospital Club Gallery
24 Endell Street, London, WC2H 9HQ
RSVP to the private view: email@example.com
Updated 24 July 2014
Check out photos from the private view. Thanks to everyone who came out to make the event a great success!
Sedition is pleased to partner with Own Art and TheSpace to present a new digital edition by Turner Prize winning artist, Jeremy Deller. To celebrate their 10th anniversary, Own Art has commissioned Deller to produce an artwork based on a painting by Stuart Hughes that was originally made for the British Pavilion of the Venice Biennale 2013 as part of his touring exhibition English Magic.
English Magic reflects the roots of much of Deller’s work, focusing on British society. William Morris permeates the exhibition – In English Magic, Deller brings Morris “back from the dead”, encouraging us to turn the mirror on ourselves and ask questions of the society in which we live – William Morris Gallery.
Own Art, the organisation the helps make art buying easy and affordable through interest free loans, along with TheSpace, a newly re-launched online arts initiative supported by the Arts Council England and the BBC, will offer a series of digital images by Jeremy Deller for free to their members. The artwork will launch on Sedition on 9th July 2014. To register to receive a digital edition by Jeremy Deller, sign-up to TheSpace newsletter and follow the instructions in the confirmation email.
The digital images are part of a fully animated artwork, which will be presented on 19th July on TheSpace and on the large screens at the London Westfield sites.
Sedition is presenting at this year’s Sónar+D as part of the MarketLab from 12-14 June 2014. Sónar is Barcelona’s legendary Festival of Advanced Music and New Media Art, which celebrates its 21st year this year. Sonar+D is the international conference for creativity and technology which takes place as part of Sónar by Day at the Palau de Congressos in Fira Montjuïc.
For the Sónar+D MarketLab, Sedition will showcase an exhibition of works by pioneers of digital art including: Universal Everything, Casey Reas, Aaron Koblin, Ryoji Ikeda, Quayola, Ryoichi Kurokawa, Scanner, FIELD, Sougwen Chung, Zimoun, Miguel Chevalier, and Memo Akten. A brand new digital edition by contemporary art studio Zeitguised will be launched to celebrate Sónar+D. Follow Zeitguised on Sedition to receive an invitation to the online private view.
Sónar+D selects the most outstanding projects by creative laboratories, universities and companies to showcase new forms of creation, production and marketing. Sounds in 3D, interaction repertoires and robotic experiments.
If you’re in Barcelona, find us at the Sónar+D Exhibition at the Palau de Congressos in Fira Montjuïc, MarketLab, P5 Floor 0.
Updated 24 June 2014:
We had a great time at Sonar+D. Check out photos from the festival:
We had a great time at Art Basel Hong Kong this 15-18 May launching an exciting collection of work called Déjà Vu by 5 young Chinese artists in association with LEAP and iArt. We are also pleased to launch our Chinese version of our website and iPhone/iPad and Android apps. Thanks to Modern Media for inviting us to be a part of their booth and for launching the collection at the Post Vernissage Party with K11 Art Foundation.
Check out the photos from the week:
Sedition has partnered with ArtTactic, London-based art market research and analytics firm, to sponsor prizes for the upcoming ArtTactic Forecaster auction quiz competition in May. Get the chance to win a digital limited edition by Damien Hirst, AES+F, Jenny Holzer, Mat Collishaw, Lawrence Weiner, Matt Pyke and Tracy Emin.
How it works
Sign up to ArtTactic Forecaster, pick an auction quiz ranging from range of collecting categories and mediums such as contemporary paintings and sculpture, photography, works on paper and prints. Each quiz has 5 lots which you have to predict the sale price using the slider indicating the price bracket you think the work will sell for. Your performance and results can be monitored through the Analytics section. Winners of the different categories will win the following prizes:
1. Overall winner – Damien Hirst, For Heaven’s Sake
2. Most improved player – Jenny Holzer, One-Liner
3. Modern and Contemporary Painting – Lawrence Weiner, The Sky Moves
4. Modern and Contemporary Sculpture – Tracey Emin, Love Is What You Want
5. Modern and Contemporary Photography – AES+F, Reincarnation
6. Modern and Contemporary Works on Paper – Matt Pyke, Transfiguration
7. Modern and Contemporary Prints – Mat Collishaw, Burning Flower
Follow ArtTactic on Sedition and find out more about the competition.
Don’t forget to listen to an interview with Sedition director, Rory Blain on the ArtTactic podcast discussing the digital art market.
About Art Tactic
ArtTactic Forecaster was started in May 2012 by Anders Petterson, the founder and MD of ArtTactic and Adam Green, ArtTactic’s podcast host when they decided to launch a Twitter competition on who could guess the auction price of Edvard Munch’s ‘Scream’, which finally sold at Sotheby’s for $120 million. The winner of the competition was only off by $1 million and the Twitter crowd average prediction came in at $123 million. The result spurred ArtTactic’s interest in the general art crowd’s ability to predict outcomes in an often non-transparent, seemingly unpredictable and secretive art market.
In June 2013, Anders launched the very first edition of ArtTactic Forecaster, a dynamic auction quiz game aimed at students he was teaching at Sotheby’s Institute at the time. The second edition of ArtTactic Forecaster launched in February 2014, and has now grown to a community of 500 active players (students, art enthusiasts and auction professionals) who regularly compete for a top spot in the league tables.
Join the fast growing community of art market forecasters and improve your rank, enhance your skills and broaden the knowledge about the value of art.
Sedition is pleased to partner with The Hospital Club to present digital art and design studio Universal Everything’s first comprehensive solo-exhibition in the UK. The show surveys both new and less recent work that spans a variety of disciplines and media, with the exhibition moving fluidly from film direction and identity design to mobile software art and site-specific installations.
At the viewer is presented with explorations of the body and its movement through the use of motion-tracking technologies, such as in the ‘Presence’ series (2013), and witnesses the mapping of textures onto the human form with ‘Transfiguration’ (2013), and ‘Walking Cities’ (2014). Other works are interactive audio- visual installations or apps enabling a spectator to participate in the creative process; like ‘76 Seeds’ (2011), an instructional drawing app, and ‘Gliders’ (2014), an interactive installation inviting the viewer to design a flying creature. ‘Voxel Posse’ (2011), a series of 3D printed vector creatures, explores elements of the human form through abstract shapes and is an illustration of the studio’s physical body of work that mirrors its digital projects. Alongside these works, Universal Everything presents their voice-reactive sculpture ‘Transformer’ (2014), an interactive work reacting to spectator’s audio input; and ‘Seeds’ (2011), a series of botanical drawings by founder Matt Pyke based on a set of automatically generated and seemingly incongruous digital instructions, its methodology referencing 20th century Dada and Fluxus.
For the exhibition, Sedition has launched a new artwork by Universal Everything. Walking City Citizens is a work created exclusively for Sedition which includes 50 unique iterations of their most recent work Walking City (2014). Walking City is a 3D human shrouded in a digital costume shifts and breaks, reshapes and endlessly evolves into a video sculpture that continuously walks in the centre of the screen.
‘Transfiguration’, ‘Presence 2.1’, ‘Presence 5.1’, ‘Walking City Citizens’ are available as digital editions on www.seditionart.com. All other works in the exhibition are available for purchase through The Hospital Club.
Universal Everything, The Hospital Club Gallery, 23 May until 26 May 2014, 11:00am until 6:00pm, sponsored by LG and Laurent Perrier. Join us for the private view 22 May 2014, 7-9pm. RSVP is essential: firstname.lastname@example.org.
Sedition, is delighted to announce a partnership with LEAP, the bilingual art magazine of contemporary China, and iArt, the digital edition of The Art Newspaper China, which are both published by Modern Media Group. LEAP and iArt, in association with Sedition will present Déjà Vu: Chinese Artists in Moving Images.
Déjà Vu is a digital collection curated by LEAP and iArt featuring works by five young Chinese artists working in moving image. The exhibition will be featured in The Art Newspaper China’s iArt App and will be launched online on Sedition and at Art Basel Hong Kong 2014. Sedition is also pleased to announce the launch of the Chinese language version of the site, and the Sedition iPhone/iPad and Android Apps in Chinese for a new audience.
The multimedia works featured in the collection stem from the various motivations and inspirations of the artists, drawing from daily life, social and political experience, art history, and patterns from their past creations. Within collective cultural discourse, these works represent the texture of the uncertain reality of the world in which we live. The synesthesia and intertextuality that we recognize among them equate to uncanny evidence of a connection to our own experiences. Déjà Vu.
Globalization enables the inception of a shared “cloud” of knowledge, visual experience, and references. In their practices, these artists, especially those who were born in the 1980s, inevitably adopt some of these shared elements. However, due to geographical, linguistic, and cultural barriers, the artists transpose these elements by combining them with the symbols generated from their native cultural background. Presented via moving images, these works provide viewers with a synchronous and ceaseless access to this transposition. The resonance that occurs with the perception of the transposition, alongside the confusion, adds another layer to the déjà vu.
As a result of the proliferation of digital media and virtual reality, our vision of the world has become more vivid and sharp, yet more distant and ambiguous at the same time. While we witness the fractions of our lives that happen right in front us, we already see them in our mind.
Artists in the collection include: Chen Zhou, Cheng Ran, Fang Lu, Guan Xiao, and Kwan Sheung Chi.
The Déjà Vu Collection will launch online at www.seditionart.com and at the Post Vernissage Party of Art Basel Hong Kong 2014 co-hosted by Modern Media and K11 Art Foundation on 14th May 2014 at Grand Hyatt, Hong Kong, 1 Harbour Road, Hong Kong, China, at 9pm. The works will be available for purchase as digital limited editions exclusively on Sedition from 15th May. Works from Sedition can be easily displayed on any smartphone, tablet, TV or computer – presenting an innovative way to collect art in the digital age.
Works will be displayed at the Modern Media booth at Art Basel Hong Kong, Booth: P3 and will be on display for the duration of the fair from 15-18th May at the Hong Kong Convention and Exhibition Center.
Follow LEAP on Sedition to receive an invitation to the 24-hour online private view: www.seditionart.com/leap
By Nicholas O’Brien
The New Romantics collection on Sedition is a curated selection of artworks by artists in an exhibition of the same name presented at Eyebeam, Center for Art and Technology in New York City. The exhibition explores the ways in which contemporary digital artists are working in ways that are either deliberately or unconsciously speaking to a Romantic tradition. The equivalences between the artists represented in this collection and the painters, poets, and flaneurs of the 19th Century show a growing desire within contemporary digital media for self-reflective, personal, and transgressive visions to be more present within our ever-emerging digital landscape.
By borrowing and adapting techniques, motifs, and strategies popular within 19th Century Romanticism, these artists evidence a shifting cultural paradigm underway within network culture. As the pervasiveness of digital technology continues to take over and consume our daily lives, these artists are attempting to find respite and pause using contemporary 3D technology and computer imaging. These artists are considering – just as their Romantic predecessors – the ways in which the body, the landscape, and the built environment are all radically changing as a result of the development of new technology.
Artists like Tim Berresheim, Claudia Hart, and Sophie Kahn are using contemporary digital tools to investigate the female form. In doing so each artists is questioning the ways in which 3D technology not only shapes contemporary representation, but also informs current understandings of narrative, history, memory, and myth. Where Kahn use 3D scanning to recover the traces left over by memory and encounters, Hart uses animation to breathe life into the drowned heroine, Ophelia. Berresheim in turn uses the body as a canvas to map the burden of time passing. Though each artists approaches the human form with a different set of tools, all share a fascination with how these devices not only frame the ways in which we view the world, but also the ways in which we interpret the past.
Composition 1, Sara Ludy, digital edition, HD video, 2012
Looking outwards from the body and into the landscape, Ryan Whittier Hale and Sara Ludy create serene environments for quiet contemplation. In Hale’s work a craggy landscape undulates like an ocean, creating a soothing and majestically transient space. Ludy, however, opts for a flattening of the land into an 2D image of overgrown grass plastered along a labyrinthian structure. As we side-scroll through the walls, imperfect geometric forms loom into view emanating ominous yet seductive tones. The space created by both works create a kind of diode for the ways in which digital technology is modifying and changing our perspective of nature. On the one hand, we see it as an abundantly rich environment in Hale’s work; on the other we see it only as a backdrop to house our built world.
The saturation and opulence that comes with contemporary technology is put front and center for the work of Shane Mecklenburger and Jonathan Monaghan. Both artists deal with the iconography of wealth, access, and luxury within their video work. Mecklenburger focusses on the decadence of the precisely cut diamond, multiplying the object into an unsettling menagerie of glamour. Monaghan creates densely constructed and puzzling environments that borrow iconography from Baroque royalty. The extravagance of each artists work asks viewers to consider the iconography of our time, questioning how we value objects and brands while reveling in the absurdity of abundan
This abundance is measured against an introspectiveness that occurs within the work of MSHR (an art collective including artists Brenna Murphy and Birch Cooper), and Katie Torn. This contemplative spirit is approached through the creation of meditative abstract spaces that borrow from representations of landscape, architecture, and the body. Murphy’s dense environments resemble totems, shamanistic talismans, and temples that appear to come from an ancient and alien civilisation. The unique symbolism found within Murphy’s 3D renderings read as a language all on their own, spelling out a new mysticism and ritual vernacular for 21st century cybernetic culture. Torn’s semi-sculptural 3D animation, Vacation, presents the viewer with what appears first as a formal study for a speculative beach house. However, as viewers rotate around the object in this video, the built space mutates and shifts to become an entirely different structure that drastically differs from the initial vantage point. As a result, the structure becomes more than merely a collage of architectural motifs, and begins to take on it’s own distinct language and tone.
The collection overall presents a group of artists that use 3D technologies and contemporary digital imaging to complicate the ways in which these tools have become pervasive in our daily lives. As a result, the artists curated in this collection share a common desire in examining the ways in which Romantic contemplation, abstraction, poetic irony, and exploration of the body can become prescient, powerful, and meaningful gestures within a current digital culture.
The New Romantics is currently on at Eyebeam from 17 April – 10 May 2014. The collection will launch on Sedition on 8th May 2014 and and at the closing reception of the exhibition during Frieze New York. Eyebeam is located at 540 W 21st St. New York, NY 10011.
Follow Eyebeam on Sedition to receive an invitation to the 24-hour online private view: http://www.seditionart.com/eyebeam
Nicholas O’Brien the co-curator of The New Romantics exhibition at Eyebeam along with Katie Torn and Claudia Hart. He lives and works in Brooklyn, NY.