Looking for admin / manager / producer

dear friends and colleagues,

I’m looking for someone to take on the role of admin / manager / producer of my work. This role is quite particular due to the nature of what I do

(which often varies in nature!)… a brief outline below, and a longer one available for anyone interested. Contact info@anthampton.com 

hope to hear from you



Artist producer / manager (part-time/ freelance basis) for Ant Hampton

see http://www.anthampton.com 

What’s required – 

A person in charge of production and administration for my work

• Main tasks: negotiation of fees and other financial conditions, tour and gig organisation (travel, accommodation, transport,…); budgeting and organisation of new productions and new language versions of performances; invoicing, following up on payments; keeping track of income and costs; preparatory work for German tax declaration (income and VAT)

• Other tasks: support activities for performance production and distribution (e.g. following up on venues’ expression of interest); set preparation; support with other administrative aspects (e.g. KSK). Distribution work (trying to find me gigs) is not required. 

• Hours per week: 20-25 on average (flexibility required and offered)

• Skills: good planning skills and equal ability to respond and adapt to unexpected situations; good budgeting skills and ease at managing money; knowledge of German tax system and admin, precision, reliability; speaking different languages is a plus. 

What’s offered – 

• Adequate salary based on percentage (20% of artistic fee) that results in ca. 10.000 -12.000 Euros per year (gross / brutto); extra tasks if / when possible (e.g. set preparation) paid on top.

• Flexibility regarding when / where work is carried out. 

• Chance of working internationally even if travelling is not required; possibility to work autonomously and freedom in defining many aspects of the job and rethinking them, work with different artist through artistic collaboration

Blue Jeans

While I was at the urinals, you were over there straddling the Dyson Airblade™, blasting the soaked crotch of your wet jeans with compressed air. We’re in central Coventry’s basement public toilet together with a handful of other strangers, all of us bathed in an intense blue glow designed to disrupt a junkie’s progress by obscuring veins. Perhaps it was the light that pushed me to mistake you for someone beyond a stranger’s help. It wasn’t until the deafening white noise of the Airblade™ cut out, just as I was leaving, that i heard your broken voice responding to the toilet guardian approaching you – something about it all being a bit embarassing.

(Your voice remains with me and I wonder why I didn’t help you. I’m thinking maybe the picture of what I saw somehow obliterated the moment I was in, while I was in it. That my awareness of looking at a powerful / compelling image meant the actual moment itself was able to be displaced and vacated.
An invitation to myself, to swap compassion for irony; gratefully accepted.
So that I should no longer be there, but somewhere in the future instead, sharing the moment in conversations, or online.
Certainly not there for you.
Not there but here.
What can I do for you from here?
Not much. Too far away, too late to be useful. I can’t say that actually there’s no need to be embarassed. I can’t offer to go out and spend £3 on a pair of trousers from the Primark next door. I can’t simply make any fucking gesture at all of assistance, solidarity or tenderness and then just see how things go. All I can do is sit here in a bloodless online future, sharing regret and trying to forget about it, until an enthusastic algorithm pops up to remind me about it again three years later.)


Mars hi-res


A car crashed into the second story of a building in Santa Ana, California, this morning

Plastic in the Arts Isn’t Normal – First steps…

Friends and colleagues in the performance / touring world – please read and share this if you have a moment.

Following the logic, or the spirit, of not-doing-nothing-cos-you-can’t-solve-everything, I’ve decided to try and launch a “campaign of encouragement” with the aim of reducing the use of plastic in arts festivals (bottles, cutlery, packaging) and normalise the idea of avoiding its use.
Why? Because the global situation now is so obscene, and so critical (see link below for a start) that every time I’m at a festival and there are plastic plates for lunch or plastic water bottles at a conference (etc), I’m overwhelmed by a feeling of terrible dissonance or hypocrisy, and i guess i’m not alone. The arts are so often touted as ‘factories of possibilities’, coproducing and presenting work which tries to imagine alternatives, or at least exposing problems… and this one (unlike for example air travel) is not even that hard to solve.
We know this, because some festivals and organisations out there have already figured it out, so I wanted to start with pooling those positives, to be able to articulate solutions, not just lay down a challenge. Two questions –
a. do you know, or are you, an organisation who has an effective no-plastic policy, or is trying?
b. what are the steps taken which worked / didn’t work / continue to cause problems?
c. are there any existing campaigns that I could help with and which would render this unnecessary? (please say yes…)
I have a few ideas, but as a dilettante in the art of campaigning I’d welcome any suggestions for how to go about this with care and understanding as well as effectiveness
with thanks and hope,
ps. apologies to Jacques Rancière for the image



The other day I was thinking about the terrible Beslan Massacre which happened on my birthday 1 Sep some years ago. And then, about how commemorations of catastrophe are usually measured in years (10 years since 9/11 etc). I wondered if matters of human pain or anguish wouldn’t be better considered in terms of hours, if not minutes and seconds. There’s a website where you can put in a date and get how many hours have passed – it turns out that Beslan happened 100 thousand hours ago, today. But now that I have this round number in front of me, I’m not sure what to do with it.

the Extra People in America

here’s an email I sent to my contacts in the States prior to the upcoming mini-tour and premiere

dear friends in NYC, Philly and beyond,
I’m coming over with a big new thing called The Extra People, which I’d love to share with you. I don’t think i’ve ever worked for so long on something – it’s been a long journey. And yet despite that, due to the nature of the project, crazy thing is it’s also one of the first truly experimental works i’ve made. I like to think that we do our experiments before we present the work and that the tag doesn’t really apply for the most part – but now, with 30 people at any one time all listening to binaural audio compositions together in sync… and in overlapping cycles for anything up to 6 hours… well we’ve done as many trial sessions as those kind of numbers allow, but the final piece has evolved beyond the last one, so we’re coming with truly new material. But, i’m in luck – we premiere at EMPAC which means EXPERIMENTAL Media and Perfoming Arts Centre. And beyond that, I’m quietly confident that this ship will sail rather beautifully. So join us upstate, or in Philly (at the huge Merriam theatre), or finally at FIAF in NYC, and be part of something which for sure will be memorable – even if the experience aims more for oblivion…

I’m so lucky to have shown a lot of work in the States over these last years. Many of you have shared my different forrays (with different collaborators) into live performance which is also automatic, and unpeopled beyond an unrehearsed audience. After the early shows with curated guest performers – from BLOKE (1999) to Doublethink (2004) – things took a turn for the micro, and for several years my work was better known for its intimate and reciprocal nature (Etiquette, GuruGuru, Cue China, The Quiet Volume).

The Extra People brings you back to the theatre building and its scale, but the system (a synthesized child’s voice) seems not to know what a theatre is, or what it’s for. We don’t use the building’s lights or sound – it’s all in the headphones, and in your hands (powerful LED flashlights). You’re given a high-visibility vest, and you’re cast as an Extra. But for what?

The overal picture is out of your reach: too big, beyond your comprehension or simply not your job to know. With hints of today’s fast-developing “voice-directed” warehouse management systems, the child / system leads you through the cracked dreams of today’s temporary, ‘flexible’, high-viz and debt-ridden worker. Highly realistic binaural recordings lend this stark zone, somewhere between Beckett and Ballard, a hallucinatory edge: an audio landscape so real and complete that at times you may mistrust your eyes. Public-private divisions are also messed with: the voice reverberates off the walls of the auditorium – and yet not-one else can hear it.

In a challenge to the assumption (often taken for granted) that collectivity is what you find in the theatre, the building here reflects society rather differently, with its audience situated as atomised individuals adrift or even asleep among both seating and stage; plugged into their own audio streams, patiently awaiting their call, and eventually acting upon it. And all the while the fabric of their realities disintegrates until the proceedings on stage resemble, from within, a looping, dementia-ridden process, where roles of attendant and dependent rise to the surface, before switching as easily as the flashlights changing hands. An initial sense of exposure is slowly overcome by one of oblivion until the memory of what it was like to sit quietly with critical distance seems as far away as the seats – somewhere out there in the dark.


That’s the pitch.

One final thought – in going over the shows i’ve presented over the years in New York, one was left out – Five in the Morning. Jason Zinoman totally got what it was about, writing in NY Times here. Somehow i found myself going back to this work a lot during the writing for the Extra People. Those of you who remember it at PS122 may enjoy some echos this time.

The dates and links are below. If you’d like a little more info there’s some here on my website
and a nice interview here where I expand a little on the thinking behind it

I hope to see you soon



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September 10 > EMPAC, Troy, NY, USA
September 17 – 18 > FringeArts, Philadelphia, USA
September 25 – 26 > Crossing the Line, NYC, USA

The Extra People

written and directed by Ant Hampton

sound design and composition – Sam Britton

artistic advice – Kate McIntosh

editing / system design / tech director – Hugh Roche Kelly

early development / brainstorming at Empac – Geoff Sobelle and Trey Lyford

assistance at Empac – Julia Asharaf

commissioned by Ash Bulayev / Empac

Creative producer – Katja Timmerberg

Extra People was commissioned by EMPAC (Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Troy, NY, USA)

with coproduction from Kaaitheater (Brussels) and Malta Festival (Posnan)

supported by the Culture Program of the European Commission via the House on Fire network, French Institute Alliance Française (NYC), Kingsfountain (Paris)

Thanks to Vallejo Gantner, Britt Hatzius, Matthieu Goeury / Vooruit, Edmund and Tina Manwarren Roche-Kelly and to the many volunteers who have helped with tryouts and development in Troy, Brussels and Gent.

Special thanks to Coda Cola, London, for generous studio support