THAT'S UNDERTAINMENT at Anthology Film Archives /
April 6, 2010
Anthology Film Archives
NYC
UNESSENTIAL CINEMA presents an expanded cinema event by Skip Elsheimer, Andrew Lampert Stephen Parr and Greg Pierce that will forever be known as THAT'S UNDERTAINMENT. 4 concurrent, adjacent projections of totally boring films and footage can't be boring when devoured as a whole, right?
PROJECTO DYSFUNCTION at Medical Film Symposium /
January 22, 2010.
Medical Film Symposium at the Surgical Ampitheatre of the Pennsylvania Hospital
Philadelphia, PA
PRJOECTO DYSFUNCTION
A collaboration with Greg Pierce (The Orgone Archive).
Greg and I were miraculously allowed to stage a multi-projector event in the nation's oldest surgical amphitheatre, which served as an operating room from 1804 through 1868. We simultaneously ran 14 projectors and only blew the electricity once. Many thanks to Dwight Swanson, Joanna Poses, John Pettit (who made the video above), Rachele Rahme and Adam Abrams.
““Projecto Dysfunction: Acute Projections by the Orgone Archive & Public Opinion Laboratory” You might know a thing or two about Philadelphia’s place in the history of the birth of the United States, but did you know it also opened the first public hospital? The only evening of screenings not open to the public took place in the original Surgical Amphitheatre of the Pennsylvania Hospital, a behind-the-scenes spot unavailable to most tourists. In the early days of medical school education, people learned surgical techniques by watching actual surgeries. The education of would-be doctors relied on the availability of the sick, who would be operated on in “operating theatres,” tall, round rooms with stadium seating. The procedure took place in the center of the room, and members of the medical profession (and sometimes the general public) looked on. The medical film helped put this teaching procedure out of business. It was an apt venue for an evening of experimental projection of medical film (1950s-1970s, 8mm, super 8, 16mm, color, B&W, sound, silent, TRT 70 minutes) by Greg Pierce (Orgone Cinema Archive) and Andrew Lampert (Public Opinion Laboratory). This event was certainly the most photographed occasion of the week, and with good reason. The Surgical Amphitheatre itself is quite beautiful — simple, Georgian. The audience sat and stood in the upper balconies of the theatre. Once the lights went down, the space became a 360-degree screen, as the projectors were set up at ground level (where the surgeons and patient should have been), except for one on the third level. They pointed up and around, all over the room. The projectionists wore white lab coats, which became screens as well. A Pageant Analyzer projected near the ceiling, at a very slow frame rate, a reel of women’s faces pre-surgery. At times it was difficult to discern what their future procedures might entail, but frequently their expressions mimicked those of the audience watching gruesome surgery films on the tiers below. This screening contained many of the kinds of films that had first sprung to my mind when the symposium was announced. Educational and procedural films made for medical students, surgical films that replaced the operating theatre, guts galore. The faded color glory of many of these prints did nothing to minimize the gore factor nor to minimize the discomfort some of the audience members experienced. A cat was induced to vomit in the film Vomiting Control (re-named by Andy Lamptert, The Act of Puking with One’s Own Mouth). An inscrutable film showed something to do with cows. Other projections included a live human birth, brain surgery, cartilage removed from a chest, and the dissection of a rat. Audio recorded by Alan Lomax in operating theatres and hospitals was played at some points. The audience was invited to move about to get different views of the films. Just when the performance seemed to have reached perfection, the projectionists upped the ante, pulled out small disco balls, and planted them in front of Super 8 projectors. Multitudes of tiny frames traversed the room at vomitous speed. Hundreds of digital photos were snapped, many films were viewed, the operating theatre revived as a cinema in the round. The gang retired, only to meet the next morning for the academic portion of the symposium.””
OMNIUM-GATHERUM at Light Industry /
October 8, 2009
Light Industry
Brooklyn, NY
I showed two pieces in this excellent show organized by Jeremy Rossen: MAGNUS and JBS CANNIBAL AD.
Not a still from either work mentioned above.
GUITAR FILM AT GUILD & GREYSHKUL /
February 8, 2009
Guild & Greyshkul Gallery
New York CIty
GUITAR FILM was presented as part of the exhibit ON FROM HERE at Guild & Greyshkul Gallery. Thanks to Sara Vanderbeek and Esme Watanabe,
GUITAR FILM (2009)
A lesson on how to make a film and how not to play guitar. A film in two parts with a large gap in the middle. The "story" is heard in the continuous audio. Featuring the very patient Melinda Shopsin.
THE STONE /
I curated the second half of May 2008 at The Stone, an East Village music and performance venue operated under the auspices of John Zorn.
She came to every show.
SWEETHEARTS At International Film Festival Rotterdam /
2008 International Film Festival Rotterdam
Netherlands
The second performance of SWEETHEARTS, this time in Dutch and English.
Shot by Jeanne Liotta
“…archivist/programmer/projector performance artist Andrew Lampert, whose delightful Fluxus homage, the live piece SWEETHEARTS, involved three 16mm machines projecting the letters A, B and C, and two women to the sides of the screens reading and responding to survey questions in English and Dutch that ask the audience to divide themselves into groups based on answers to increasingly intimate questions. With Lampert darting back and forth between the control table and the clanking projectors, the piece combined the handmade chaos of 1960s underground art with a computer-age nod to binary classification, where all information can be reduced to 0s and 1s. It also reduced the idea of projection and audience involvement to its most elemental level, making it fit into the overall framework of the “Sharits in Context” program to which it belonged.” – David Schwartz, Chief Curator of the Museum of the Moving Image writing for sensesofcinema.com
“Dear Holland,
It’s time that we discussed the situation. Lets be open with each other. I mean, how long can we avoid our hearts? To find shared ground we must first speak a common language. How else can we have a dialogue? Through the movies? There is some land and water between us, Holland, but still I’d like to get closer. You understand that New York City is a lonely place for an American guy. Lets rendezvous in the secret drawing room, spill our secrets on your parlour bed. Is there a Europe we can slip away to? A mountain hideaway we might call our own? We wouldn’t need much, a little grass bed, maybe a pillow, my coat makes a fine blanket. You and me together, exchanging long glances, in harmony intertwined, Holland. I’ll meet you there.”
Lamp/Licht Do Madison /
February 21, 2008
The Starlight Cinema
University of Wisconsin-Madison
Alan Licht and I teamed up to take down Madison. Our attack began on the airwaves.
SWEETHEARTS in Berlin /
November 30, 2007
Tesla
Berlin, Germany
The premiere of SWEETHEARTS, later revived at International Film Festival Rotterdam in 2008.
TIT FOR TAT at The Kitchen /
November 9 & 10, 2007
The Kitchen
New York City
A collaboration with Okkyung Lee (composer, cello) featuring Migeul Frasconi (glass, electronics), Trevor Dunn (bass), Cornelius Duffalo (viola), Emily Davis and Jared Abramson.
Photo by Jared Abrmanson
MAJOR CONDITIONAL /
Breakfast in Scotland
MAJOR CONDITIONAL performed at Kill Your Timid Notion, Dundee Contemporary Arts, March 2007. Featuring Steve Beresford (piano), Steve Dalachisnsky (voice), Okkyung Lee (cello) and Mark Sanders (percussion). Dedicated to Oscar Levant.
VEXED at Sculpture Center /
June 11, 2006
Sculpture Center
New York City
VEXED was my contribution to the eight-hour performance of Erik Satie's VEXATIONS (1893) organized by Kenny Goldsmith at The Sculpture Center in Long Island City. Featuring the voice and presence of Steve Dalachinsky.
Audio and a full description can be found on ubu
Saties' score for VEXATIONS (1893)
White Noise /
In November 2005, I co-organized (with Esa Nickle, for PERFORMA 05) a three-week exhibit at White Box, a gallery in New York City. Artists included Free103.9, Jim O'Rourke, Bruce McClure and The Loudmouth Collective/Ugly Duckling Press.
GROWTH OPPORTUNITIES at Getty Center /
September 29, 2005
Harold M. Williams Auditorium, Getty Center
Los Angeles, CA
Surveying the Border: Three Decades of Video Art about the United States and Mexico
SURVEYING THE BORDER: THREE DECADES OF VIDEO ART ABOUT THE UNITED STATES AND MEXICO
This 90-minute program presents some of the best short video works made by artists since the mid-1970s that take the relation between the United States and Mexico as their subject matter. The program screens videos that address the experience of immigration and the subsequent reality of living in the neighboring country, including provocative political works by a number of artist activists. More lyrical pieces focus on urban and rural landscapes, while other works comment on the humorous absurdity of stereotypes. The evening encompasses a number of genres of video, including conceptual and performance art, experimental documentary, short fiction, and music video.
SURVEYING THE BORDER features work by artists based in Southern California, Tijuana, New York, Mexico City, Florida, El Paso, and Oaxaca. Artists include Greg Berger, Ira Scheider, Border Arts Workshop/Taller de Arte Fronterizo (BAW/TAF), Alan Calpe, Ximena Cuevas, Nathan Gibbs, Guillermo Gधmez-Peña, Art Jones, Andrew Lampert, Jesse Lerner, Yoshua Okon, Sal V. Ricalde, Alex Rivera, Shannon Spanhake, Rubén Ortiz Torres, Bruno Varela, Willie Varela, and others.
Please join us following the screening for a discussion between artists Ximena Cuevas, Andrew Lampert, and Rubén Ortiz Torres moderated by Rita Gonzalez, assistant curator at the Center for Art of the Americas at the Los Angeles County Museum of Art (LACMA).
ROBERT BECK MEMORIAL CINEMA New York Debutant(e)s /
October 24, 2000
Robert Beck Memorial Cinema
New York City
Bradley Eros kindly included me in this show even though I had already screened my work in NYC and even at the Robert Beck. I don't recall what BACKWARDS FILM is but imagine that at the time I thought it to be a good camera roll. Sound is Brion Gysin's THE POOL K III.
1001 Polaroids /
Jonas Mekas asked me if I had 1001 Polaroids. I did. He gave me a show in the Courthouse Gallery in 2000.
CASIO 99 /
CASIO 99
Baktun
New York City
For some forgotten reason Stom Sogo and I were given an evening to stage the event CASIO 99 at Baktun, the lounge formerly above The Cooler on 14th St. in the old meatpacking district. At midnight we held a free form Casio jam with people playing keyboards, watches, appliances, etc. It was a show so big that we made three flyers.
Robert Beck Memorial Cinema /
September 25, 1998
Robert Beck Memorial Cinema
145 Ludlow St.
I showed an aborted edit of THE WORST MISTAKE I EVER MADE in the Robert Beck Memorial Cinema show of unfinshed/abandoned films. I remember that Henry Hills and M. Henry Jones also screened.
