‘I shot Sitting Feeding Sleeping in a cryogenics lab, where nitrogen-pumped bodies circulate their own blood. In a robotics perception lab, where machines read human emotion. And in zoos, where animals live extended lives emptied of sexual, social, survival cues. I used these three spaces as prosthetics for understanding deathfullness — being alive, feeling dead.’
– Rachel Rose, Vdrome.org
‘Being alive, feeling dead’ is where we start and end: beginning with a new requiem by improviser Crystabel Riley and finishing with a unique new commission from elusive rap icon Triad God, who will present for the first time ever Triad God’s Coda at LCMF, developing their hypnotic spaced-out aesthetics, a kind of sonic materialisation of the liminal space, of the architecture of ‘being alive, feeling dead’.
Between these bookends we examine the cracked architecture of the present in poetry, film and sound. Percussionists Christian Dierstein and Dirk Rothbrust and Explore Ensemble will deliver the UK premieres of two musical takes on brokenness, Dust 2 and Eclipse Plumage, from composers Rebecca Saunders and Clara Iannotta, both of which deploy a vast array of percussion, as well as, in Iannotta’s, objects, electronics and the ‘Antimachine’, an instrument created by Iannotta that uses magnetic fields to coax sound from piano strings.
We present the addictive splintered video work of Rachel Rose in Sitting Feeding Sleeping. Then a slice of what Maria Sledmere has called ‘athropocene camp’: ‘I actually think capitalism is quite a beautiful word and look forward to appropriating it to mean something like spring dawn sunshine ladybird sex’, writes poet Caspar Heinemann. Heinemann will present a selection of their works, ‘meme poetics wired up to the trembling motherboard of lyric’ (Sledmere, Spamzine).
To end we eavesdrop on the ancient Mayans. In her UK debut, Debit will present a live version of The Long Count, her woozy AI transfigurations of Mayan wind instruments, otherworldly laments that Philip Sherburne described as being ‘like an overture to the dead’ (Pitchfork).
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