Chris King

Palace of Peace and Reconciliation @ Arcadia Missa, Feb 28 – Mar 8

27 February 2014

Viktor Timofeev opens the London edition of his Palace of Peace and Reconciliation exhibition at Arcadia Missa, doubling as the gallery’s third birthday party, opening February 28 and running from March 1 to 8.

The show will feature work by Takeshi Shiomitsu, Lawrence Lek, Camila Sotomayor, Chris King and Emily Jones among others, a vinyl and CD LP of music by Timofeev, released on Lo Bit Landscapes, and performances from Clifford Sage and Simon Werner.

Inspired by the Norman Foster-designed Palace of Peace and Reconciliation building in Kazakhstan, and already surfaced in Riga and New York, the nomadic project relies on collaboration while being subject to time and negotiation as it refuses a story’s end and thus its own answer.

See the Arcadia Missa website for details. **

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Sonic Architecture @ Penthouse 4C

22 August 2013

So Public Assembly have inhabited pop-up space and installation Penthouse 4C at Hack the Barbican for nearly two weeks now and to celebrate, they’ll be hosting Sonic Architecture tomorrow, Friday, August 23.

Featuring two collaborations by Lawrence Lek and Chris King,  as well as Patchfinder and Daniel Swan. Promising an “immersive live experience” the artists concerned all work with an audiovisual scope, particularly King, whom we interviewed not long ago.

See the Public Assembly Facebook page for details. **

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An interview with Chris King

25 July 2013

Audio/visual junkie Chris King works with analogue television as a medium with which to draw. Nanoseconds apart, hundreds of manipulated lines criss cross across screens to display a psychedelic spectrum of RBG colours bent from angular fixes. Rad waves of energy that can slow down in silence to a series of single thick pink lines on a negative backdrop or pump-up to experimental electronic music in multimedia performances.

On camera, the London-based artist talks on where his love for early broadcast technology began, messes with aqnb’s footage and breaks down 1980s hardware’s relevance for computer generated imagery.**

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