Robert Lippok

PART TIME LECTURER: Experiments in the Future of Producing

Photo of Robert Lippok

 

 

 

Robert Lippok (1966) is a dynamic force in composition across multiple media in his native Berlin, now at an inflection point in his mature work from music to design. Lippok’s work in music and sound channels the rawness of his East German industrial and dissident punk and post-punk roots in both East and reunified Berlin (as co-founder of the bands Ornament und Verbrechen and To Rococo Rot). Pouring that molten energy into his solo work, he has produced a body of music that engineers that force into an array of architectural forms. 2018’s critically-acclaimed full-length "Applied Autonomy” (Raster Media) follows 2011’s “Redsuperstructure” (Raster-Noton), and builds on collaborations with musician Klara Lewis (at a residency at EMS studio in Stockholm) and visual contributions by Lucas Gutierrez. The meticulously constructed record employs modular materials tested in live performance. Outside music circles, Lippok is also a sought-after stage designer and artist. This includes most recently a stage design for Brecht’s Im Dichkicht at Berlin’s Maxim Gorki Theater, sound installations at Hamburger Bahnhof, and exhibitions at Institut für Raumexperimente in Addis Ababa, Ethiopia and at Berlin’s Künstlerhaus Bethanien (with Matteo Ferroni). Lippok has also been relied upon as a spontaneous and inventive live music and audiovisual performer. That includes appearances at festivals like MUTEK, Unsound and GAMMA Festival St. Petersburg, at Berghain and Funkhaus Berlin, work with the 4DSOUND spatial audio system, collaborations with Italian harpist Beatrice Martini, Canadian percussionist Debashis Sinha, and with brother Ronald and Italian composer Ludovico Einaudi, and music for dance (Constanza Macras, ), as well as sound and music for exhibitions by architect Arno Brandlhuber, Henning Korb in Hong Kong, Clara Jo at Ethnologisches Museum Berlin, and video artist Fernando Aries in Bogota, Colombia. He extends his solo practice into workshops and teaching that open up his multidisciplinary approach to design and sound, incorporating architecture and field audio materials, including recent projects in Guatemala and at Vancouver’s Polygon Gallery, and in his performance and production class at NYU Berlin, “Experiments in the Future of Production and Performance”. (Words: Peter Kirn)