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.
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.