Andrew Lampert
Still of piece by Andrew Lampert

I’ll try and tell you, although I wouldn’t want to spoil it: a sort of quasi-theatrical, multi-projector and possibly slightly chaotic, (at least in appearance), investigation of audiences’ expectations.
An autobiography, and a big fiction maybe involving 35mm, 16mm, 8mm, video projection, roving mics, string; or maybe not, I’m not sure…

As an artist, Andrew Lampert works in film, video and performance. He primarily focuses on live quasi-theatrical multiple-projector pieces, portraits, short-term installations and private performances. He has screened/performed in the Whitney Biennial, The Getty Museum in Los Angeles, The Kitchen, The Rotterdam International Film Festival, The New York Film Festival and other international venues including our KYTN festival in Dundee. As an Archivist, Lampert works at Anthology Film Archives where he is responsible for the day-to-day maintenance and preservation of the collection. He has preserved films by artists including Paul Sharits, Bruce Conner, Harry Smith, Marie Menken, Jonas Mekas, Robert Breer, Carolee Schneemann and Wallace Berman among many others. As a Programmer, Lampert curates Anthology's regular Unessential Cinema, Audio Verite and Personal Archive shows, as well as a variety of festivals, series and one-off screenings.

Different things in different cities, and at this stage I couldn’t say exactly; I mean, how many performances are the same twice? Or rather, it may be a shame to spoil the surprise.

To set the scene here’s what Andrew has to say, upon our request, for his London performance:

A splice can take you anywhere, and with this we’re out the door, dear London, on a short traipse around your wondrous South Bank. Fret not my island nation, we’ll be safe in the arms of these padded seats, our bodies and minds supported by the chairs on which we sit. Together again, we mutually forget our distance, that wide Atlantic Ocean between us, our bodies of land converging at last. Yet, you resist, you ask questions, want commitments. That I should be expected to state up front the result of our rendezvous makes me feel you don’t trust me one bit, UK. If I say too much you may not even show, so please understand my lack of promises. Lets just say that eyes closed I see a massive theater, a humongous screen and many seats all occupied by you. I’m at your side. You complain that it’s grey and rainy, but sunny days are here again. Outside is another story.

And for the other shows:

Dear Barry and Bryony,
Many thanks yet again for inviting me onto the KYTN tour. I’m honored and excited to participate. In response to your request for a description of my performance, it might just be easier to say a few things that the show will not be: 2 hours long, a string quartet, a Sunday afternoon in the country, an impressionist painting, available online, improvised or scripted, on par with the 2008 summer Olympics opening ceremony, overly practiced, served hot in a flaky pastry crust, based on the collected writings of Jack London, broadcast on BBC 2, non-narrative, intravenously fed, smothered in cheese and green chilies, starring Alec Guinness, a love story, a period piece, a silent film, a thunder storm, starting on time. Oh, and there are no animals,


Because Lampert sort of plays with your expectations of what a film/ cinematic experience should be like, how you should engage with it, when it’s started, when it’s finished, where you should stand, if you should get involved. I think this activating of you the viewer if really interesting, if a little maverick and sometimes unsettling.

And yeah also, here’s the rub: he’s a great exponent of expanded cinema, but his performances are also often hilarious, confounding, charming and never the same twice. Good times.

Andrew Lampert standing in front of a wall looking at the camera


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