Today Lampo announces its WS20 season, which begins in late February with new work from Chicago artist Whitney Johnson (aka Matchess) and concludes in June with a special performance by the Jessica Pavone String Ensemble, as we also celebrate 10 years of Lampo at the Graham Foundation. In between, we bring you new projects from … Continued
Lampo director Andrew Fenchel and musician Steve Hauschildt will talk about experimental music and conduct a hands-on workshop at Apple Michigan Avenue on Saturday, January 25 at 2:00 p.m. Steve also will perform a short set. Music Lab: Sonic Landscapes with Lampo and Steve Hauschildt. Details here.
Lampo is very pleased to announce its FW19 season of programs—with special new projects from artists Sarah Davachi, Laura Steenberge, Roc Jiménez de Cisneros, Caterina Barbieri, Catherine Lamb and Rebecca Lane. On October 5, Sarah Davachi premieres a new long-form composition for pipe organ and two French horns, in the soaring interior of Rockefeller Chapel. … Continued
Lampo director Andrew Fenchel looks back at Resonance: A Sound Art Marathon at the Walker Art Center, in this review for the Walker Reader. The May 2019 festival, organized by Pavel Pyś and Doug Benidt, included artists Philip Blackburn, Christine Sun Kim, Walter Kitundu, … Continued
Today Lampo announces its WS19 season, featuring projects by artists Florian Hecker, Peter Rehberg, James Hoff, Jon Davies and DeForrest Brown Jr., and Anthony Pateras—with five special performances across Chicago, at the Poetry Foundation, the Graham Foundation, and the new Green Line Performing Arts Center in the city’s Washington Park neighborhood. Lampo WS19 begins in … Continued
Thomas Ankersmit combines abstract, intensely focused saxophone playing with hyper-kinetic analog synth and laptop improvisation, in his Lampo debut.
Here, he presents a solo concert for alto sax, Serge modular synthesizer and computer. He also will employ several highly directional loudspeakers—a new component in his work. In performance, Ankersmit walks around the space with the saxophone, reflecting sound from the walls and the floor. The directional speakers project sound to different spots in the room and set distant objects in motion, making them resonate with an ultrasonic beam. He places preparations on them that start to buzz and sing like insects.
For Ankersmit, the set-up is very much an interconnection between the different parts, where digital steers analog, computer recordings are processed by tape techniques, the synthesizer processes fragmented recordings of its own signals, and the saxophone blends with the electronic sound.
Thomas Ankersmit (b.1979, Leiden, The Netherlands) is a 29-year old saxophonist, electronic musician and installation artist, now based in Berlin. He also creates installation pieces that use sound, infrasound and “modifications to the acoustic characters of spaces” that disrupt the listener’s perception of space and their presence within it. He is a frequent collaborator with New York minimalist Phill Niblock and Milan-based electroacoustic improviser Giuseppe Ielasi, and other improv partners include Gert-Jan Prins, Thomas Lehn, Keith Rowe, Kevin Drumm and Axel Dörner.
Support provided by the Consulate General of the Netherlands, Chicago