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.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
Glasgow based contemporary music group Paragon Ensemble performing an improvisation with Pete Dowling, Nick Fells, Robert Irvine and others.
Every aspect of every film is always about more than just film. Or, as Godard said: a tracking shot is a moral issue. A cross between a festival, magazine and discussion about experimental artists’ films.
Blood Stereo & Ludo Mich: linking past and present generations of DIY intuitive expression in a post fluxus ‘big mess’.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.