April 22nd, 23rd and 24th

3 Evenings of New Work

Automata presents three evenings of new work by Ulrich Krieger, including several world premieres. Krieger is an internationally recognized saxophone player and composer. He is known for his original, innovative contemporary composed and free improvised music. His recent focus lies in the experimental fields and fringes of contemporary Pop culture: somewhere in the limbo between Noise and Heavy Metal, Ambient and Silence.

Each Evening is a unique show

April 22: Universe Series 1&2 Record release concert

April 23: Universe Series 3&4 Premiere!

April 22: Blood Oath Official Premiere of Krieger's new experimental noise metal band: Ulrich Krieger, Max Kutner, Linda Lockwood, Ness Morris, and Josh Carro

Ulrich Krieger is a composer, performer, improviser and experimental rock musician. His main instruments are saxophones, clarinets, didjeridu and electronics. He calls his style of playing ‘acoustic electronics,’ using sounds, that appear to be electronic, but are produced on acoustic instruments and then sometimes electronically treated, blurring the borders between the fields. Krieger transcribed Lou Reed's (in)famous Metal Machine Music for chamber ensemble and works with groups like Text of Light (with Lee Ranaldo) and zerfall–gebiete (with Thomas Koner). Born 1962, in Freiburg, Germany, he lived in Berlin from 1983-2007 with longer residencies in the USA and Italy from 1991-97. In September 2007 he moved to California, where he is professor for composition and experimental sound practice at California Institute of the Arts. Krieger has worked with Lou Reed, Lee Ranaldo, Phill Niblock, David First, Thomas Köner, Alan Licht, Michiko Hirayama, Witold Szalonek, Mario Bertoncini, Miriam Marbe, Seth Josel, Zbigniew Karkowski, Merzbow, zeitkratzer and many others performing in Europe, North-America, Asia and Australia. His works are being performed by the California EAR Unit, zeitkratzer, KontraTrio, Soldier String Quartet, Wandelweiser Ensemble, and many others. He has released over 50 CDs of his original compositions, improvisations, with his groups and as a collaborator with many musicians.


Wednesday, April, 27th

What Has Happened Is That Time Has Passed
An Evening with Ben Russell

One of the most singular and unpredictable artists of his generation, Ben Russell has over the course of dozens of films consistently worked to reorient established modes of cinematic expression while training his lens on people and places of underrepresented distinction. Combining experimental ethnography and speculative nonfiction with surrealist imagery and rhythmic overtones, Russell has fashioned a unique corpus which engages all the available senses in a full-tilt push toward transcendence. His two most recent medium-length films, Greetings to the Ancestors (2015) and He Who Eats Children (2016), utilize dream logic and myth-making as narrative markers through which to examine realities both immediate and imagined in remote regions of South Africa and South America, respectively. Tonight’s program bookends these two shapeshifting works with Daumë (2000)––one of Russell's key early films and a spiritual precursor to He Who Eats Children––and a live performance by the filmmaker in which modular synthesizer and audio-responsive 3D emanations are coupled with randomized outtakes from his Garden of Earthly Delights trilogy. ~ Join us for a post-screening reception at General Lee's: 475 Gin Ling Way, Los Angeles, CA. 90012

Daumë (2000, 16mm; 7:00) He Who Eats Children (2016, video; 25:00) –– Los Angeles premiere! Greetings to the Ancestors (2015, video; 29:00) –– Los Angeles premeire! The Marvels We Now Enjoy (2015, video; 20:00-30:00) –– Live performance for modular synthesizer, audio-responsive 3D object, and randomized outtakes from the Garden of Earthly Delights trilogy, with text by Levi-Strauss.

About the films:
Daumë (2000) “One of the strangest films I have ever seen; its characters come and go as if they’re ‘primitives’ posing for the camera, either obeying or fighting an ethnographer’s controlling eye.” - Fred Camper, Chicago Reader

He Who Eats Children (2016)
“...and we Antilleans, we know only too well that––as they say in the islands––the black man has a fear of blue eyes.” - Franz Fanon, Black Skin White Masks

Greetings to the Ancestors (2015)
Set between Swaziland and South Africa, in a region still struggling with the divisions produced by an apartheid government, Greetings to the Ancestors documents the dream lives of the territory’s inhabitants as the borders of consciousness dissolve and expand. Equal parts documentary, ethnography, and dream cinema, herein is a world whose borders are constantly dematerializing.

The Marvels We Now Enjoy (2015)
Taking its title from a line in Claude Lévi-Strauss’ Tristes Tropique, The Marvels We Now Enjoy is a live performance in conversation with the global(izing) present, one that seeks to create a wholly embodied audio/video convergence via chaos-theory, 3D-modeling, modular synthesis, and a randomized stream of outtakes from a utopian-minded trilogy of films shot between Greece, Malta, South Africa, Swaziland, and Vanuatu.


April 29th-30th

Emily Lacy: Singing Resistance
Vocal Music and Sing-Along

Creating 17 albums over the past 11 years, Emily Lacy shares the release of her first set of her recordings ever printed on vinyl. Concentrating on the art of vocal music, and influenced by folk and punk traditions from around the world, her new collection of songs, “Your Weatherbeaten Soul” is a meditation on some of the darker origins of the American political system. It also investigates the folklore surrounding that system, as well as patterns of family, loss, violence, and oppression in many forms.

Lacy will also lead and share a selection of material meant for communal singing from her spring recording project “5 Songs for Bernie Sanders”, which concerns notions of freedom and justice in the now.

The Saturday afternoon show is an all ages show.

FRIDAY, APRIL 29th at 8pm
SATURDAY, APRIL 30th at 1pm



Visit PEEPHOLE CINEMA, a new permanent screening site at Automata, available for viewing 24 hours a day. Peephole Cinema, conceived and curated by Laurie O'Brien and Allison deFren, is located in the alley behind Automata, to the left of our back door, between North Hill Street and Chung King Road.