Iain Campbell
Iain Campbell F-W
A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
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A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Do ideas emerging from particle physics help to re-think of blackness as a mode of life in which it’s possible to practice difference without separation?
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
HEAVY Japanese super group, featuring the sundown delta blues of Kan Mikami, Toshi Ishizuka’s heavy, time folding drumming and Masayoshi Urabe on sax, harmonica and chains.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
A performed installation by one of Germany’s most interesting visual artists, based on edited transcripts of the 1961 trial of Adolf Eichmann in Jerusalem and the writings of Hannah Arendt
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.