Artist Matthew Rosier will bring Macclesfield’s historic 108 Steps to life with a playful, projection-mapped installation later this month.
Commissioned by SHIFT with support from Macclesfield’s Barnaby Festival, Arts Council England and Cheshire East Council, Matthew Rosier’s 108 Steps projection will be on display on the evenings of 26, 27 and 28 October.
The 108 Steps, a winding stairway between the Macclesfield station and the town centre, are a beloved local landmark for Maxonians. Earlier this year, artist Matthew Rosier visited Macclesfield to capture the daily life of these iconic steps on film. The footage he captured — local runners, commuters, dog walkers and everyone in between — has been composed into a loop of memories, to create the projection that will be shown on the face of the steps (and the people using them).
The work creates interplay between past and present, bringing to life the Steps’ historic connection to people and place.
Visitors to Macclesfield can catch the projection-mapped installation at the following times, and it is best viewed from the bottom of the steps:
Friday 26 October
Saturday 27 October
6pm – 11pm
Sunday 28 October
4.30pm – 9pm
Matthew is currently a FAULT LINES artist with FutureEverything who are producing the installation.
FAULT LINES – A talent development and commissioning programme for art in technology innovation
“Without art, the future would never change.” – Paula Varjack, No Boundaries 2017
FAULT LINES is a landmark talent development and commissioning programme awarded an Ambition for Excellence award by Arts Council England.
It’s vision is to support artists to develop art practice in technology innovation, and to create new opportunities in how artists work and where and who art is commissioned by.
Seven exceptional artists were selected in 2016 from Manchester, Newcastle and London and appointed FAULT LINES artists. These are Kasia Molga, Dan Hett, Ling Tan, Helen Knowles, Naho Matsuda, Chomko & Rosier and Peter J Evans.
The “artists” in FAULT LINES are many things. In their own words they define themselves as artist, design fusionist, creative technologist, digital artist, designer, live visual performer, multi-media artist, transdisciplinary artist, games designer, maker and software developer.
Art in innovation
There is a long history of art and innovation coming together. This space was opened from the late 60s and through the 70s, by the ideas of Stewart Brand in the Whole Earth Catalogue, the fusing of disciplines at Xerox Parc to shape innovation culture in Silicon Valley, and giants of technology and art coming together in Art and Technology (E.A.T.). This is continued today at MIT Media Lab, New Inc., Eyebeam and Autodesk’s Pier 9. Artists working in innovation embrace what it means to be “Antidisciplinary” with practitioners crossing borders of art, design, science and technology. As Neri Oxmen stated, ‘knowledge can no longer be ascribed to, or produced within, disciplinary boundaries…one realm can incite revolution inside another.’
For 21 years, FutureEverything has operated in the space between art, innovation, technology and society. Our artistic interest in the social impact of technology led us to innovate in open data, participatory sensing and climate services. Our community often operate as artist-researchers, exploring contemporary issues in society and culture through artistic enquiry and participatory experiences.
In the UK, FutureEverything successfully made a case for art to be at the centre of Manchester’s IoT Smart City demonstrator, CityVerve. In Europe, introducing artists in innovation is promoted through STARTS (science, technology and arts). Here, FutureEverything is bringing art and artists into the European Internet of Things programme, a part of Vertigo supporting 3-6 month artist residencies in ICT innovation projects, and the STARTS Prize, led by Ars Electronica.
The fault lines in FAULT LINES is between cultures and language in art and technology innovation. The challenge is to create a space where the two can come together and cohabit. For the technology sector the goal is to stimulate innovation and acceptance. For ‘critical arts’ the goal may be to ask the hard questions, to challenge ideas, answer ethical concerns. This is not always easy, but maybe, just maybe, it can lead to better art, and better technology. The fault lines between art and technology are our inspiration, but we need our wits about us too.