This series of artworks is about exploring the artistic process, being transparent about the process and the development and production of new work and doing it all in public in the gallery. This version is titled the City of Dreams residency at Lanternhouse International Dates – Monday 26 July until September 2010 in the Barn at Lanternhouse. The residency is about exploring the artistic process, being transparent about the process and the development and production of new work. During the creation process and the open exhibition, Stanza will reveal the actual process; lay bare the reality of the work, physically by showing the machinery of the piece in progress and theoretically with a series of show-and-tell invitations to the public.
This was also a new way of using the Barn as a studio and the project helped Lanternhouse make sense of the actual building and how these spaces can be utilized. In this way, the “open studio” mirrors the process of the project, with material and philosophical process being available to witness throughout. The Barn became an Open Studio, a public domain space, with a live CCTV link available online for a public online audience to follow the process.
Works developed during this City of Dreams residency: Info Below
Sonicity is a responsive installation, a sonification of the data space. The sounds you hear are the sounds of the changing environment, ie the changes of noise, light, temperature of the space turned into a real time sound stream using dozens of wireless sensors. This project investigates the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from new technologies. The system monitors the space (the building) and the environment (the city) and captures live real time data (light, temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.
The installation is about the real time city, making artworks using live data. Essentially this artwork gathers data from the city which is then made virtual. This data is represented as an electronic city. Data is manipulated and that ‘powers’ all the ‘events’ in the installation. The changing data affects all the changes one experiences in the space ie: the moving objects, fans and changing lights are all responding to changes in temperature, light, pressure, noise, and the sound of the space.
The objective is to explore new ways of thinking about interaction within public space using data gathered from new technologies. Motes are used to collect the data. Motes are tiny wireless sensor boards that gather data and communicate to the central server. The real world is monitored and the data stored in my archive retrieval system. Motes and sensor boards sense the micro incidents of change in the light, the noise, temperature and sounds of the flows inside the space.
– Open Studio (process as artwork) The open studio and process of creating as artwork. Click here to have in page on it own.
A City of Dreams is process as exhibition, which created opportunities for participants and audience to see the artwork unfold and then to see the final piece during the last week of September. Audiences were able to view it when it opened to the public for the final week. The artists website www.stanza.co.uk will be used as a showing space for the final piece and documentation and selected documentation was made available for Lanternhouse website. Participants also had the chance to talk with the artist at intervals through the six week period, as the work developed. They were able to engage with the development as there will be the chance to be involved practically in building the artworks
Stanza will create this work/s and be available to participants during the day as agreed as an “open studio”. The aim is to allow people to engage in making the work.
Special Thanks to Lorraine, Connor, Tommy, Josephine, Philip, Peter, Ant, Izaak; all local volunteers
Thanks to Tor, Emma, Claire , Lynda, Andrea, and special thanks to Bob from Lanternhouse.
Previous versions of "TRANSPARENCY"
At my studio at Goldsmiths College, I carried out various artistic experiments. I invited Charlie Gere and had conversations with Janis Jefferies and discussed my idea of transparency (a reversal of the panoptican where everything is watched from one perspective now and everything is transparent from all perspectives and available across networks. Everything is transparent: My studio became the open process studio … laboratory. I tried this out in Plymouth in situ in 2008 as a Public Domain Studio and made a variety of works, working in the gallery and created a public domain studio as a laboratory and experimental space. This work (the studio as lab) is now in version three for my work at Lanternhouse (UK) this summer 2010.
I am developing the idea of studio as laboratory and extending previous versions by inviting members of the public to be involved in the process making and the experiments. The studio will also have live CCTV broadcast and live data feeds.
Artists are like scientists in that they ask questions and find answers in peculiar ways, guided by research and process development. Most artists, like scientists, do stuff and make things to question the world. From the real to virtual and back to the real is a theme that has had my attention for five years and the idea is embedded in the works I am currently making.
Transparency, as used in the humanities and in a social context more generally, implies openness, communication, and accountability. It is a metaphorical extension of the meaning. A "transparent" object is one that can be seen through. Transparent procedures include freedom of information legislation.
Sketches in studio and other works based on networks. ( the feel of the installations development ideas.)
Stanza is an internationally recognized artist, who has been exhibiting worldwide since 1984. His artworks have won prestigious painting prizes and ten first prize art awards including:- Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanzas art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and a Clarks bursary award.
His artworks have been exhibited globally with over fifty exhibitions in the last five years including:- Venice Biennale: Victoria Albert Museum: Tate Britain: Mundo Urbano Madrid: New Forest Pavilion Artsway: State Museum, Novorsibirsk. Biennale of Sydney, Museo Tamayo Arte Contemporáneo Mexico: Plymouth Arts Centre: ICA London: Sao Paulo Biennale:
His mediums include; painting, video, prints, generative artworks and installations. Stanza is an expert in arts technology, CCTV, online networks, touch screens, environmental sensors, and interactive artworks. Recurring themes throughout his career include, the urban landscape, surveillance culture and alienation in the city.
I am researching data within cities and the built environment and how this can be represented, visualized and interpreted. Data from security tracking, traffic, and environmental monitoring can all be interpreted as a medium to make artworks. I am investigating new ways of comparing, conceptualizing and then visualizing complex concepts related to the relationship of emergent data and real space in the built environment. Through practice based research, a series of modular experimental artworks are being created to express the possibilities for our data-mediated future.
There are three strands of my working process; these involve collecting the data, visualizing the data, and then displaying the data. The outputs from the online interfaces and online visualizations are now realized as real time dynamic artworks as diverse as installations, and real objects, made out of new display materials back in physical space. In all my work I try to exploit the changing dynamics of city life as a source for creativity and create meaningful artistic metaphors. I utilize new technologies and integrate new media artworks into the public domain as part of this ongoing research into the visualization of city space. In essence I am researching data as a medium for creativity and how meaningful experiences of our cities may result.
By investigating these data structures I aim to create new metaphors relevant to the experience of the environment. The patterns we make, the visual and imaginative interpretations we give to real world events, are already being networked into retrievable data structures that can be re-imagined and source for information. These patterns disclose new ways of seeing the world. The value of gathering and re-presenting this data in artistic form, and then analyzing its impact and influence, lies in making meaning accessible to a wider audience.