A collaborative performance with Dawn Kasper and special guests in the space of her exhibit The Wolf and The Head on Fire at Portikus in Frankfurt, Germany on June 28. 2019.
Homage to a Happy Man : Celebrating Jonas Mekas
Poetry Project @ St. Mark’s Chuch
May 25, 2019
Calling to order the first meeting of the Jonas Mekas Preservation Society at his memorial.
Sunday April 14, 4pm
Emily Harvey Foundation
537 Broadway, 2nd Floor
New York, NY 10002
One of two experimental films directed by Arakawa, For Example (A Critique of Never), 1971, closely follows its protagonist, a homeless boy, as he wanders the streets of downtown New York City. Shot in a documentary style, the camera observes every step of his examination of the constantly shifting relationship between his body and its surroundings. At the time of production, Arakawa and Madeline Gins were deeply engaged in research on the workings of the mind and the body in the process of perceiving the world. The film premiered at the Whitney Museum of American Art in 1972.
The screening will be followed by a talk and Q&A with Andrew Lampert, an artist, archivist, and frequent writer on art and cinema. He will illuminate
Arakawa’s film from the context of the late 1960s – 1970s experimental film scene.
Open Ears & Wide Eyes: An Array of Experimental Cinema curated by Andrew Lampert
Presented by New Music Circle at Webster University, Winifred Moore Auditorium
Saturday, April 13th, 2019 @ 8:00 pm
For this event, Lampert will curate a selection of films from the 1950’s – to present day, which incorporate or work heavily influenced by the experimental music world, and will host a post-screening Q+A.
1964, 11 minutes, 16mm, color, sound. Courtesy of Canyon Cinema.
30 SECOND SPOTS: NEW YORK
1984, 14:45 minutes, video, color, sound. Courtesy of EAI
Steina and Woody Vasulka
1970, 19:20 minutes, video. Courtesy of EAI
2013, 10 minutes, 16mm, color, sound. Music by Tashi Wada featuring cellists Charles Curtis and Judith Hamann. Courtesy of Canyon Cinema.
1989, 10 minutes, 16mm, color, sound. Featuring vocals by Shelley Hirsch. Courtesy of Canyon Cinema.
VERTICAL AIR1996, 28 minutes, 16mm, black and white, sound. Score composed and performed by Wadada Leo Smith.
Variety Show with Jason Fulford
Thursday, February 28
7:00 pm - 9:00 pm
Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor New York, NY
Aperture and Der Greif invite you to a Variety Show hosted by Jason Fulford, guest editor of Der Greif Issue #11.
Featuring performances and games by: Jason Fulford, Andrew Lampert, Sara Magenheimer, Jason Nocito, Gus Powell, Laurel Schwulst, Tamara Shopsin, Denise Wolff
Join Ugly Duckling Presse for a book release celebration with Ed Steck, Robert Fitterman, and Eileen Quinlan. February 22, 2019, 6:30-8 PM at Printed Matter
Eileen Quinlan will read a collaborative text with Ed Steck composed in conversation with her new book, Good Enough, published by Osmos Books.
Ed Steck will read from his new book, An Interface for a Fractal Landscape (UDP, 2019). “Graphs, images, data, and language are elegantly interwoven into a topographic web.” —Fia Backström
Robert Fitterman, Lawrence Giffin, Holly Melgard and Andrew Lampert will perform from Rob’s Word Shop (UDP, 2019) and re-stage an improvised transaction of words and letters based on Fitterman’s durational performance work.
November 30, 2018
David Lewis Gallery, NYC
Performance with Dawn Kasper as part of her exhibition
Four Scores (From Zero to Nothing).
Sunday, November 2, 5:00 PM
Titus 2 Theater @ Museum of Modern Art, NYC
An introduction and conversation with Marie Losier on the occasion of her massivemid-career retrospective at the Museum of Modern Art in NYC.
LIVE with C. Spencer Yeh @ Qubit
Saturday, September 22 at 8PM
1850 Amsterdam Ave, New York, NY
Sharing a bill with bassoonist Dana Jessen, Yeh and Lampert will present the next installment of a collaborative performance first staged at the New Music Circle in St. Louis, MO in Spring 2018. Amplified violin and multiple film projectors are haphazardly paired in a way that purposefully undermines each of the artists' extended histories operating in the realms of "expanded cinema" and "live scoring". As a duo they are constantly thinking about how forms develop and change, or more likely, just freeze at some point but never rot, like a moose fallen into an icy lake. This is not a movie with music. It's a town hall meeting. It's a $17 cocktail. It's a novel about a carpenter who is afraid to turn 33. It's a blanket covered in cat hair. It's a stain that no dry cleaner can remove. It's a hot soda on a cold day. It's a #4 pencil. It's acrylic paint on aluminum. It's an Aunt Annie's Pretzel made by Uncle Phil. It's that other stuff that isn't lint. It's Rosh Hashanah holiday hours. It's yesterday's newspaper with tomorrow's news. It's a digital remaster of the bootleg recording of The Who's 1979 concert in Cincinnati where the audience was trampled pressed on 180-gram vinyl and it comes with a bonus DVD of the WKRP episode titled "In Concert" that poignantly references this tragic event. It's Ess-A-Bagel at the old location on 1st Avenue when it was still good. It's a 51-pound suitcase that you have to pay an extra $25 for because the person helping you is being a jerk. It's a hard way to make a living, but a good way to have fun.
Saturday, September 9 @ 3PM
3A Gallery, 629 E. 6 Street
New York, NY 10009
AS OPPOSED TO GRAVITY, a “contracted cinema” performance created in response to the exhibit TITLE by Jeff Preiss.
Writing ahead of time about something that I won't necessarily do, at least not as described, always gives me pause. I don't want to reveal too much, yet at the same time realize that descriptive information helps entice a potential audience to discover, alongside me, what I'm doing. So, here it is:
Title: As Opposed To Gravity
This performance will be presented alongside another piece of audio:
Title: What's Your Favorite Movie? (Adolfas Mekas)
I'm not trying to be mysterious, it's just that what I'll do is speculative until it happens. A plan exists, but the reality of things is that I can't entirely predict the outcome, or how it will be experienced by those of us in the gallery, since we are all in it together. I'm committed to not knowing too much in advance about the results of my ideas.
In lieu of a better description, I might mention that As Opposed To Gravity is site-specific and made in direct response to your installation. In fact it includes your footage, which will be projected on 16mm. Your exhibit is concerned with the loop, the circle, the perimeter, and what I'm thinking to do focuses on the center, the space between. I'll be in the middle. That's all I can really think of to say other than that I'll probably never do this piece again after the 3A show. Maybe that is what we should be telling people.
The screening series Tarantula: On Film concludes on August 26, 2018 at 2PM at the Woody Guthrie Center. We’ll be screening Ken Jacobs’s underground classic Blonde Cobra (1963) starring Jack Smith, Bruce Conner’s mini-epic Permian Strata (1969) and Dylan's own entry into experimental filmmaking, his directorial debut Eat the Document (1972). Joining us for a post-screening discussion will be filmmaker and preservationist Andrew Lampert who, in recent months, has worked on restoring the film footage shot by D.A. Pennebaker featured in Eat the Document. For more information and a full description of films visit woodyguthriecenter.org Co-presented with Magic City Books
HARRY SMITH: NEW RESTORATIONS
Thursday, May 4 2017 @ 7PM
Lightbox Film Center @ International House Philadelphia
Presented by John Klacsmann and Andrew Lampert
An unparalleled animator, gifted painter, and notable musicologist, Harry Smith (1923–1991) was an underground renaissance figure bar none. Smith’s kaleidoscopic experimental films have influenced generations of wide-eyed enthusiasts, and his landmark six LP compilation The Anthology of American Folk Music (1952) laid the foundation for the folk music revival of the late ‘50s and ‘60s. Today, Smith is renowned not only for his dazzlingly ecstatic and eccentric works but also for the vast assortments of curious objects that he voraciously collected throughout his colorful life. Anthology Film Archives and J&L Books recently joined together to issue two new publications focused on Smith’s most unusual collections, Paper Airplanes: The Collections of Harry Smith, Catalogue Raisonné, Vol. 2 and String Figures: The Collections of Harry Smith, Catalogue Raisonné, Vol. 2. Each book features new essays and richly detailed photographic documentation of Smith’s decidedly eclectic assembling and research obsessions. To celebrate the release of these publications we present a program of newly preserved films alongside some very rare Harry Smith audio-visual surprises.
Film Nos. 1-5, 7, 10 (Early Abstractions)
US, 1946-57/assembled ca. 1964, 16mm-to-35mm, 23 min. Restored by Anthology Film Archives and The Film Foundation with funding provided by the George Lucas Family Foundation. A premiere of a brand new 35mm print of Smith’s landmark compilation Early Abstractions. This brilliant new print was made by doing an optical blow-up from Smith’s original 16mm master. You have never seen this classic work with such vivid color and detail.
Film No. 6
US, 1950, 16mm, silent, anaglyph 3-D 1.5 minutes. New print by Anthology Film Archives. Smith’s shortest film abstraction is also his only known attempt to work in 3-D.
Film No. 15
US, 1965-66, 16mm, silent 10 minutes. Preserved by Anthology Film Archives.
In this film, Smith animates his extensive collection of Seminole patchwork.
Film No. 19
US, 1980, 35mm, 12.5 min. Completed over 15 years after the footage was shot and almost never publicly presented, Film No. 19 contains further outtakes from Smith’s abandoned Wizard of Oz adaptation. Made directly from Smith’s workprint, these captivating fragments offer a small taste of the masterpiece that Smith never finished.
April 12, 2017
I premiered FEELS GOOD, an LED message sign, and played guitar as part of the OptoSonic Tea 10th anniversary event.
Pioneer Works presents an evening of live visuals with live sound performance on Wednesday, April 12. Ten years after its first iteration, OptoSonic Tea will host an anniversary celebration including previous participants as well as artists new to the series. Visualists will perform simultaneously in different areas to a continuous music/sound performance by various musicians/sound artists coordinated and spatialized by Diapason Gallery founder and director of 12 years Michael J. Schumacher. Founded in 2006 by Katherine Liberovskaya and Ursula Scherrer, OptoSonic Tea was conceived as a regular series of salon-style meetings that explored different forms of live visuals as well as the different ways they can come into interaction with live audio followed by an informal discussion about the artists’ practices over a cup of green tea.
Participating Artists: Gill Arno, Miah Artola, Bob Bellerue, Causings, CHIKA, Tom Chiu, Seth Cluett Thomas Dexter, Jeff Donaldson, Luke DuBois, Bradley Eros, Michael Evans, David First, Kit Fitzgerald, Richard Garet, Shelley Hirsch, Chris Jordan, Antonia Kuo, Andrew Lampert, Katherine Liberovskaya, Al Margolis Anthony Martin, Miya Masaokal Brock Monroe, Charlie Morrow, Dafna Naphtali, Bradford Reed, Ursula Scherrer, Joel Schlemowitz, Lary 7, Lily Sheng, Jeremy Slater, George Stadnik, Hans Tammen, Ben Vida, Stephen Vitiello, Philip White, Amnon Slater, Sonia Yuditskaya
On March 10, 2017 Andrew Lampert and Public Opinion Laboratory will unveil the project Faked/Out, a multi-platform response to the world’s current information crises. Now that fake news is an all too real concern, it would seem that the only way to fight fire is with gasoline. Or, stated another way, the best way to understand fake news is to report it. With this in mind, Public Opinion Laboratory and Lampert will convert Recess into an office and operational hub for Fake Out News Incorporated (FONI), a news service very much concocted for the present moment.
Fake Out News Inc. (FONI) is a global, all-media information agency dedicated to the creation and distribution of unvetted news for an unreal world. As the premiere source of artificial journalism in the post-truth society, FONI is the leading supplier of tailored misinformation about today, yesterday, and tomorrow. Founded in 1898 at the outbreak of the Spanish-American War, FONI manufactures words, pictures, and moving images to fabricate stories that have yet to be reported. With a wide range of multimedia divisions that cover headline, world, technology, business, finance, and entertainment news, FONI supplies dozens of millions of readers with fanciful, real-time coverage 20 hours a week.
While FONI is committed to falsifying the world as events unfold, the various activities offered under the umbrella of Faked/Out will attempt to scrutinize our general conception of what it means to be fake. Rather than go on the attack and decry the fake as a malice, this project operates from the premise that fakeness and fake news can provide an optimistic space for wish fulfillment and self-actualization. Facts must always be interpreted, and they beg to be questioned. Alternative facts and alternative fictions are possible daydream spaces that might serve as portals to hopeful futures and unobtainable realities.
Throughout the month-long Session, FONI staff, reporters, and guest contributors will be onsite and working from afar to investigate, write, film, and disseminate breaking news stories. A series of writing workshops, guest speakers, and film screenings will contextualize fake news within a significant, cross-disciplinary tradition of fakeness and will create opportunities for visitors to alternately interrogate and experiment with the practice of faking it in their own lives.
At the core of this Session rests an impulse to spark public consideration of a series of topical questions: Is it possible to find renewed faith and positivity in fake news? Is this what half of America and much of the world are already doing? Why subscribe to false agendas when we can make our own? And finally: Does accepting fake news as a given rather than a problem provide us with the impetus we need create the world we want?
FONI staff and contributors will include: Brian Belovorac, Sean Berman, Dawn Cerny, Howie Chen, Whitney Claflin, Caroline Golum, Rin Johnson, Owen Kline, Carolyn Lazard, JoJo Li, Dave Miko, Nour Mourbak, Steve Paladinsky, Scott Ponik, Sara Greenberger Rafferty, Jordan Rathus, Edward Steck, and Angie Waller.
January 29, 2017
A rover of mediums who favours formal structures and humorous ruptures, Andrew Lampert’s slippery live shows disrupt expectations of concept and execution, intention and results. This new entry in his unruly Projector Destruction series will – to give fair warning – not go as planned.
Andrew Lampert: “When invited somewhere I ask my host to gather as many half-working projectors as they can find and then I ceremonially sentence them to death.” Bringing unscripted and chance elements into cinema's veneer of control, and often working in front of the audience, he foregrounds the contingency of film as a medium. Revelling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accident – and to make each of his screenings and performances a one-of-a-kind event.
Part of the exposition Nuts & Bolts, Thu 26 Jan to Sat 4 Feb, 11:00-20:30, Het Atelier, free admission, performance by Andrew Lampert on Sun 29 Jan, 17:00.
For all exhibitions, performances, video works and (interactive) installations, also see FFR.com/expo.
I reprised my projectionist role at Tate Modern on January 18, 2017 in a performance of Tony Conrad's FIFTY FIVE YEARS ALIVE ON THE INFINITE PLAIN. Rhys Chatham (long string instrument), Angaharad Davies (violin) and Dominic Lash (electric bass) accompanied a recording of Tony Conrad's violin as recorded by Jim O'Rourke at an earlier performance. Over the course of 90 minutes four 16mm projections slowly, almost imperceptibly merge into one overlapping image. Focus shifts and other occurrences happen along the way.