
Andrew Lampert
Andrew Lampert
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
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Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
We’ll look more at psycho-emotional health – exploring experiences as opposed to diagnoses. And exploring collective care and collective healing.
A historical narrative of the black and Latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to race, gender, sexuality and class oppressions.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
Sparse and miniature free thought workouts involving guitar, vocals and tuba.
Writing that shows us that, even in struggle, there is light to be let in.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
Guy Sherwin gives a kind of annotated, chat through his optical sound films