B-52
Hartmut Bitomsky
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
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Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Amid the blur of erotics, the jangle of poetics, and the fetishizing of sickness and disability, the heat of Panteha’s performance and sculpture freezes all.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
Durational group-mind drone and clatter: bamboo, electronics, the contents of your local ironmongers bin. A 3-hour set from this legendary Japanese improvisation group.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
For this one off performance Vibracathedral Orchestra are joined by Matthew Bower and John Godbert from mighty UK heavy/drone/psych free-noise behemoths Skullfower, Sunroof! and Total.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Setting up a minimal procedure to explore the interaction between a person and the (documentary) film/ video process. What initially seems simple ends up contrarily distanced and intimate, public and private.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.