Text Festival Bury

For Text Festival, Stawarska-Beavan produced a set of 3 screen-prints entitled Transliteration. The work investigated how ethereality of sound, speech and passage of time can be translated into a two-dimensional visual image, and brings printmaking practice, new media and interactive element together. Using International Phonetic Alphabet (IPA) text and graphical elements such as a grid and gradations of lines, numerous subtle marks on black paper and elaborate typographical arrangements engaged viewers visually to decipher phonetic bilingual text, but the IPA obstructs the reading process; the text is coded. The viewer looks for familiarities in the text, but to break the code he/she must produce the sounds out loud; hearing their own voice as they decode the narrative

International Print Triennial: Horst-Janssen-Museum, Oldenburg, Germany �“Multiple Matters” Kunstler Haus, Vienna, Austria

In Mother Tongue, a set of three screen-prints with integrated three sound pieces were presented at both the Multiple Matters (Vienna) and Print Without Borders (Oldenburg): part of the International Print Triennial 2010. The work was an investigation of how to represent in two-dimensional form such as print, a passage of time, and the ephemeral moments in the development of a child’s relationship with language. The three prints depict recognizable visual representations of sound such as waveforms and phonetic symbols. These marks were visual artefacts of temporal sounds, used to archive and preserve transitory events/moments in space and time. The work explored a relationship between two-dimensional works, such as print, and digital sound; how sound can navigate the viewer through the image

Arcade

Stawarska-Beavan was invited (by the project curator Georg Weckwerth) to work with Andres Bosshrad to incorporate her sound piece “Arcade”. This resulted in the sonic architecture project KLANGHIMMEL presented at the Museum Quartier in Vienna from 6th June – 1st November 2011. The project was an artistic collaboration between Andres Bosshard and 15 European artists, bringing together works from all over Europe in a large outdoor installation in the central courtyard of the Museums Quartier; an area of over 640,000 square meters. The installation was presented as part of 10th anniversary of the Vienna's Museums Quartier, celebrated in the summer 2011, and was visited by 1.5 million visitors; was widely publicized online, in the press and Viennese Kunstradio

TONSPUR 59 - Krakow to Venice in 12 Hours - 8-channel sound installation, 7-part series of posters plus clock / at TONSPUR Kunstverein Wien, Museumsquartier, Vienna 2013

The Installation premiered in July 2013 in TONSPUR Kunstverein Wien (Vienna), a public outdoor location. TONSPUR is curated sound project public platform, showcasing international and Austrian artists engaged in sound art, music and auditory research and practice. 4 projects each year are shown in the passage, which is part of Museumsquartie Vienna. Krakow to Venice in 12 hours ran each day for 3 months from 21st July 2013. 8 channel installation (12 hours audio) synced in real time from 8 am – 8 pm. Multichannel audio piece is design to change perspective on the architectural structure of the location where piece is presented. Noise pollution is a common concern in today’s architecture and urban planning but at the same time city soundscape is an integral part of the identity of the location. Urban sound gives us a point of orientation on a journey. The structure of a 12-hour clock forms the basis of the immersive multichannel sound installation. In this 12 hour-long composition, the times of the recordings are synchronous with the real time of the installation’s location. “Kraków to Venice in 12 hours” maps a journey across Poland, the Czech Republic, Slovakia, Austria and Slovenia to Italy, visiting Krakow, Katowice, Bielsko-Biala, Ostrava, Brno, Bratislava, Vienna, Graz, Maribor, Ljubljana, Trieste and Venice. The journey was undertaken on a railway connecting Eastern and Western Europe that was built during the reign of the Austro-Hungarian Empire. The project attempts to captures the unique sonic identities of the 12 cities travelled through, searching for similarities and differences. It acts as a personal and subjective audio travel guide and a clock for the journey, mapping the movement through geographical locations over the passage of time. The artist captures the city with binaural microphones; two microphones are worn in her ears as she moves through the city giving a personal time space perspective of the city soundscape. The unobtrusive microphones also bring the artist passing snippets of unguarded conversations interwoven with the unique sonic footprint of the city. The language recorded on the streets, stations, town squares and cafes is an important element of the piece; marking the transition from one country to another, it serves as a spatial and temporal reference for the traveler in a borderless Schengen Europe. “50.06465,19.94498 to 45.441058,12.320845” (set of 6 prints) is a visual record of the artist’s movement through 12 urban locations where the field recordings took place for the “Kraków to Venice in 12 hours” project. The artist as an outsider is looking for key points within the urban space, but the city imposes its structure and creates a unique pattern for each of the drawings denoting the walks. The coloured dots on the map point to locations where the recordings took place on the hour. The printed record of latitude and longitude allows the viewer to discover exact locations where audio material was recorded. The project exists on line as an interactive platform, where the listener can move through geographical locations and time listening to the field recordings and compositions on chosen parts of the journey. www.krakowtovenicein12h.co

Resonating the Visual: Printmaking and Sound Practice

In this paper, I would like to reflect on the relationship between printmaking and sound practice. I am interested in how one method of creative technological practice informs and translates to others, for example how working with printmaking can influence the way artists approach sound or music and vice versa how working with sound, deep listening can change the way we create and read the visual image. The elements of printmaking techniques such as layering, transparency, and viscosity can easily be recognised in the creation of sound compositions but equally the rhythm, passage of time, performance can also be read in the examples of printmaking when moving image qualities flow back and feed into the works on paper. In particular, I am interested in how the visualisation of sound can affect the image making and how the ephemeral qualities of sound and memories translate into printmaking forms. In my presentation, I will refer to examples from my practice, which connect printmaking, visual elements with sound in the context of a recent group exhibition Sounds Like Her in New Art Exchange, Nottingham (Ain Bailey, Sonia Boyce MBE RA, Linda O'Keeffe, Elsa M'bala, Madeleine Mbida, Magda Stawarska-Beavan and Christine Sun Kim). Collectively the selected works represent sound in the broadest sense, exploring voice, noise, organic and synthetic sounds, rhythmic patterns, sonic structures and non-sonic materialisations of sound. The result is a varied exhibition of mixed media bringing together audio, immersive installation, painting, print, drawing, video, as well as interactive practice. Alongside those examples I will also consider some details from my installation work “Krakow to Venice in 12 Hours

Masters - artist presentation and masterclass programme

Professional guest presentations and practical studio sessions are designed to compliment the studios long-term vision to promote contemporary print through an ethos of exploration and cross-disciplinary research and professional excellence. Guest artist’s selection is based on a demonstration of research led practice linking tradition and innovation within their specialised area of contemporary printmaking practice. Between April and May 2018 we welcomed our three guest artists: Bronwen Sleigh, Emma Gregory and David Armes

TONSPUR 59 - Kraków to Venice in 12 Hours, Maribor, Slovenia - February to May 2017

Public space 8 channel installation with 7 images in the Historic Town Hall of Maribor city centre. Partners: TONSPUR Kunstverein Wien, MKC Maribor + MFRU, Foundation Sonda 8 channel installation (12 hours audio) synced in real time from 8 am – 8 pm. Multichannel audio piece is design to change perspective on the architectural structure of the location where piece is presented. Noise pollution is a common concern in today’s architecture and urban planning but at the same time city soundscape is an integral part of the identity of the location. Urban sound gives us a point of orientation on a journey. “Kraków to Venice in 12 hours” maps a journey across Poland, the Czech Republic, Slovakia, Austria and Slovenia to Italy, visiting Krakow, Katowice, Bielsko-Biala, Ostrava, Brno, Bratislava, Vienna, Graz, Maribor, Ljubljana, Trieste and Venice. The journey was undertaken on a railway connecting Eastern and Western Europe that was built during the reign of the Austro-Hungarian Empire. The project attempts to captures the unique sonic identities of the 12 cities travelled through, searching for similarities and differences. It acts as a personal and subjective audio travel guide and a clock for the journey, mapping the movement through geographical locations over the passage of time. The artist captures the city with binaural microphones; two microphones are worn in her ears as she moves through the city giving a personal time space perspective of the city soundscape. The unobtrusive microphones also bring the artist passing snippets of unguarded conversations interwoven with the unique sonic footprint of the city. The language recorded on the streets, stations, town squares and cafes is an important element of the piece; marking the transition from one country to another, it serves as a spatial and temporal reference for the traveler in a borderless Schengen Europe. The structure of a 12-hour clock forms the basis of the immersive multichannel sound installation. In this 12 hour-long composition, the times of the recordings are synchronous with the real time of the installation’s location. “50.06465,19.94498 to 45.441058,12.320845” (set of 6 prints) is a visual record of the artist’s movement through 12 urban locations where the field recordings took place for the “Kraków to Venice in 12 hours” project. The artist as an outsider is looking for key points within the urban space, but the city imposes its structure and creates a unique pattern for each of the drawings denoting the walks. The coloured dots on the map point to locations where the recordings took place on the hour. The printed record of latitude and longitude allows the viewer to discover exact locations where audio material was recorded. The project exists on line as an interactive platform, where the listener can move through geographical locations and time listening to the field recordings and compositions on chosen parts of the journey. www.krakowtovenicein12h.co

Resonating the Visual: Printmaking and Sound Practice presented at IMPACT 10 Conference

IMPACT was established in Bristol in 1999, and after a successful tour of nine previous cities around the world, IMPACT10 took place in Santander, Spain. In total, there was 22 presentation panels and various exhibition scattered around the city addressing multifaceted nature of contemporary printmaking. Presentation of “Resonating Visual, Resonating the Visual: Printmaking and Sound Practice” was presented in the panel 'Printmaking and Perception', including speakers such as: Carinna Parraman, Clare Humphries Abstract: In this paper, I would like to reflect on the relationship between printmaking and sound practice. I am interested in how one method of creative technological practice informs and translates to others, for example how working with printmaking can influence the way artists approach sound or music and vice versa how working with sound, deep listening can change the way we create and read the visual image. The elements of printmaking techniques such as layering, transparency, and viscosity can easily be recognised in the creation of sound compositions but equally the rhythm, passage of time, performance can also be read in the examples of printmaking when moving image qualities flow back and feed into the works on paper. In particular, I am interested in how the visualisation of sound can affect the image making and how the ephemeral qualities of sound and memories translate into printmaking forms. In my presentation, I will refer to examples from my practice, which connect printmaking, visual elements with sound in the context of a recent group exhibition Sounds Like Her in New Art Exchange, Nottingham (Ain Bailey, Sonia Boyce MBE RA, Linda O'Keeffe, Elsa M'bala, Madeleine Mbida, Magda Stawarska-Beavan and Christine Sun Kim). Collectively the selected works represent sound in the broadest sense, exploring voice, noise, organic and synthetic sounds, rhythmic patterns, sonic structures and non-sonic materialisations of sound. The result is a varied exhibition of mixed media bringing together audio, immersive installation, painting, print, drawing, video, as well as interactive practice. Alongside those examples I will also consider some details from my installation work “Krakow to Venice in 12 Hours

Crossing the Borders - Overview of recent projects Kraków to Venice in 12 Hours and East {hyphen} West, Sound Impressions of Istanbul in context of collaboration with individuals and overseas institutions

Kraków to Venice in 12 Hours and East {hyphen} West, Sound Impressions of Istanbul, explore the shifting sonic and visual identities of cities, which not only reveal intimate glimpses of the singular urban soundscapes of these places but also interrogate their cultural complexities, exploring the blurred boundaries between public and private and probing the notion of physical and political borders as points of connection and signifiers of separation. The presentation will focus on collaborations with artists, writers and institutions who provided support and guidance throughout the project

‘Inner listening: Translating the City’ presented at ISSTA 2018 – Who’s Listening? Sound and Public Space Irish Sound, Science and Technology Association International Conference

‘Inner listening: Translating the City’ In this paper, I would like to discuss how through the experience of urban soundscape one can read the city from someone else’s perspective and attempt to claim ownership and a sense of belonging to the place. I will address this by close exploration of the To Followproject 2017 (presented in theSounds Like HerExhibition curated by Christine Eyene) which combines a video Who/Werprojection with 4 channel audio, with a series of handmade silkscreens prints. TheTo Followproject enquires into the complex processes of inner listeningwhile experiencing the soundscape of the city, this led to an intense series of creative dialogues with an Austrian playwright, Wolfgang Kindermann, who produced three narrative texts in response to my urban field recordings, encouraging a questioning of the real and imagined histories of place. The departure point for this piece is an examination of the familiarity and strangeness of a city’s soundscape, as experienced both by an insider and a stranger to the city. What is the native prepared to share and what can the stranger hear and see more clearly because of its unfamiliarity. How much are the exchanges designed to gain advantage one over the other. The split screen video is an exploration of the power struggle between moving and still image; inner thoughts versus observed action. Reported and imagined text appear to leak into each other’s aural territory while presenting the complexities of European language; the spoken German text is heard at the same time as the English translation but is spoken with a Polish accent thereby necessitating an even more intense listening process. The language, gender, the tone and the rhythm of voices are different. Interwoven together, they create a vocal sonic ‘tapestry’. To Followis in dialogue with the historic work by Vito Acconci Following Piece(1969) in which the artist followed, in the streets of New York city, a randomly selected person in a public place until they entered a private place. Similarly, To Followthrough the experience of the drifter/follower and the person being followed, examines the layers of ourselves