Tuesday, August 12, 2008 at 8pm

A non-representative image from a performance piece that will in no way be staged at Light Industry, photographed by Brook Sietsinsons.

Hi Thomas and Ed,

I’ve been so excited about my upcoming Light Industry evening and planning a brand new performance for you, but sadly it’s already July and I just don’t have all the necessary pieces in place. To really pull it off requires an investment of about $4300, four solid days of manual labor, three other workers, a freight elevator at least 30 feet wide, scaffolding, ceilings that are 23 ft. or taller, yellow, red and black fluorescent lights, lenticular wallpaper to act as a screen for the third section of the second movement, 5.1 surround sound, a 2700 ANSI lumen video projector, fourteen carousel slide projectors, a functioning 9.5mm projector (which I found can be rented from Chelmsford, England, along with the projectionist who operates it as part of the deal), 230 voltage electricity, a cross-cutting saw, a laser-sited metal plasma cutter, a working shower with an industrial hose, lots of sand, an industrial fan, 5 days of rehearsal with full 24-hour access to the space, an on-call seamstress, two full dress rehearsals the afternoon of the show (each preferably with a different test audience), absolute quiet during the overture, trappist ale in place of the beer you normally provide, cultural support from the Belgian consulate, a van that can accommodate 12 plus all the gear, a green room with private bathroom and maybe a few other things I’m forgetting here. In the end, I’m simply not sure if this is the right piece to do at Light Industry. Rather than find out the hard way, I’ll instead present the following new works. It’s always better to stay simple.




All Magic Sands: Reels 1 + 2
Featuring the return of LAMP/LICHT: Andrew Lampert and Alan Licht

The Sky is clear, but we’re in a fog. So are the kids, the blond ones who drifted ashore. Unspecified disaster, parents awash or sunken, oh there is trouble at every turn. Trees to climb, pitfalls to elude. And what of their inverse doppelgangers, equally as naked and lost? It’s a matter of sticking together, he has come for them, as if they willed him to life. The youngest, with the curly locks, he must be especially careful. No one is safe, not even the donkey on this sunny day turned grey, this good trip gone bad. Sure, the sand is magic, but what has it wrought?

What may be an unfinished Christian children’s adventure film from a Nashville producer with real estate interests. 2 sizable reels of 16mm film, multiple 3-minute camera reels assembled in rough order by someone else long ago. Completely uncut, mistakes and retakes included. Structure and narrative alluded, shuffled.


Our Dream Deferred
A solo performance by Andrew Lampert, work-in-progress, less than 20 minutes. Having to do with moving images and lasting regrets.

As an artist, Andrew Lampert works in film, video and performance. He primarily focuses on live quasi-theatrical multiple-projector pieces, portraits, short-term installations and private performances. He has screened/performed in the Whitney Biennial, The Getty Museum in Los Angeles, The Kitchen, The Rotterdam International Film Festival, The New York Film Festival and other international venues. As an Archivist, Lampert works at Anthology Film Archives where he is responsible for the day-to-day maintenance and preservation of the collection. He has preserved films by artists including Paul Sharits, Bruce Conner, Harry Smith, Marie Menken, Jonas Mekas, Robert Breer, Carolee Schneemann and Wallace Berman among many others. As a Programmer, Lampert curates Anthology's regular Unessential Cinema, Audio Verite and Personal Archive shows, as well as a variety of festivals, series and one-off screenings.

Tickets - $6, available at door.