Curators: Allison Lacher, Cole Lu | Artists: Chicago Hatch artists Jeffrey Michael AustinHideous Beast,Jessica CaponigroSnow Yunxue FuAndy Roche, and Rafael E. Vera. Featured St. Louis-based artists Brandon AnschultzLyndon Barrois Jr.Michael ByronSage DawsonLilly Randall, and Deborah Alma Wheeler. website

Andy Roche, That is not a cloud, but the back of a cloud. Cannot you see that everything is stooping and hiding a face?, 2015, Vinyl adhesive on mylar, horsewhips, novelty slatwall.





Streets: On The Life from Andy Roche on Vimeo.

Filth, violence, anger... hope? In an unnamed city that is every city, ordinary people do their thing: be it posting their latest photos, be it obsessively cleaning garbage strewn alleyways, be it encountering lost loved ones in the ether of musical ecstasy. Somewhere in this strange fog of odor there is a sweetness, sweeter than the pizza of our fathers.

Produced as part of DC345 Experimental Filmmaking at DePaul University.
Directed, edited & performed by: 
Jake Benassi, Emily Brandenstein, Alex Castillo, Alex Goldberg, Frances Herrera-Lim, Malcolm McGuire, Sam Metzger, Sean Moore, Andy Roche, Maxx Walters
Script based on improvisations of the cast by: Andy Roche
Music: Sean Moore


What Became of Me from Andy Roche on Vimeo.

What Became of Me, Andy Roche, HD Video, 8M, 2015.


HATCH Projects exhibition, Kissing in Heaven, brings to mind a perfect experience, a suspect fantasy that nevertheless sustains many of life’s efforts. The works on display focus on this tension between desire for the ideal and the material limitations which obstruct it. 

Andy Roche uses video and lightboxes to examine both the comedy and the anxiety of the life cycle. Snow Yunxue Fu uses digital media in gesturing towards a higher reality, while utilizing technology and artifice to achieve that vision. Hideous Beast (Josh Ippel and Charlie Roderick) defy the rarefied status of art by performing and documenting the installation of the entire exhibition themselves. This direct handling of the artworks suggests how physical, tactile, and intimate processes counteract the purity of the ideal. Kissing in Heaven is curated by Allison Lacher, HATCH Projects Curatorial Resident.


Cosmic Giggle, Andy Roche, backlight film, airbrush, lightbox, 70"x37", 2015.



If You See Light Emitting from this Image/Call 312-806-3240 Immediately, Andy Roche, Blacklight film, airbrush, Lightbox, 70"x37", 2015.




My short story "Kunegunda Kunstdottir Kosmically Klouds Up & Kashes a Kheque" has been published in the most recent issue of Rough Beast Magazine from Berlin. This story is also the first chapter of my novel in progress with the working title "Oh, you perfect masters!" It seems like the magazine's site displays better on broswers besides Firefox. Check it out!





From Kala: " "This is the first in a four part series taking place every Saturday evening in July. This unique performance series celebrates the release of a limited edition hand-made gatefold double LP of music paired with four DVD’s of original film featuring collaborations by: Craig Baldwin with Maggi Payne; Paul Clipson with Tashi Wada; Lawrence Jordan with John Davis and Kerry Laitala with Ashley Bellouin & Ben Bracken. The publication includes a 50-page booklet of writing and images bound in a hand-made letterpress cover."

For this performance Mary Helena Clark and Andy Roche collaborated on a two projector and live sound work based on Roche's sci-fi short story. The piece riffed on ways of reading, the graphic image, and the cosmic gaps in formal aesthetics and emotional self-knowledge.

photos Dianne Jones


The Ghost of Work | Socialism in Two People by David Price and Andy Roche from Andy Roche on Vimeo.



April 4, 2014 at the MCA Chicago, I collaborated on the piece "Take No Scorn to Wear the Horn" with Pullman Morris & Sword, a folk dance troupe from the Pullman neighborhood of Chicago, and contemporary circus artist Brian P. Dailey. My role in this was primarily as organizer and framer. I had first encountered the Morris group at a folk fest in Hyde Park in February. My initial impression of "wha?" quickly transformed into "woah!"  When I participated in their workshop, I was struck by how the dance seemed to be teaching itself to me via a fundamental folk formalism. Also there was something in the attitudes of the dancers around me that seemed to be altering my sense of time and manifesting an immediate community in which I was suddenly a part with a meaningful role to play. On my way home from this experience I was contacted by the MCA to participate in their First Fridays public events. Operating on intuition I proposed a project with the Morris dancers I had just met. The general idea of the evening at the MCA was artists riffing on the theme of Apocalypse. Instantly, I thought that there was something in the Morris dancing that contained physical culture of a type that had informed various Anarchist and Marxist political thinking I had been reading recently that was generally about the end of the current political and economic system. What is present in folk culture is both a haunting of the past as well as an intimation that if our system would collapse or change drastically, there are already methods of living together, long practiced, that would allow us in the imagined afterscape to face a new world as "friendly ghosts". After initially conceiving of a much more complicated performance, I settled on two interventions in the usual performance and workshop structure of the dancers' events. First, I created about 60 paintings on handkerchiefs similar to the ones used as a standard part of the costuming of a Morris dance. On these I wrote what I came to think of as "pedestrian footnotes" on the dance, the political ideas I thought to be relatable to the form, and increasingly, as I made many hankies, my own feelings about myself and my experience of working with and getting to know the lovely troupe from Pullman. Second, I invited Brian P. Dailey, a contemporary circus artist, to join the performance as an improviser with both my hankies and the sticks used in the folk form. His performance was meant to be a subtle and pleasurable example of how I think the folk dance and its community shows us that thrust into a novel situation, an anxiety-ridden present, an unknown future suddenly at hand, we could already know what to do. After all, the folk is good and will have to be trusted.

The official blurb from the MCA:

"Artist Andy Roche collaborates with Pullman Morris & Sword and contemporary circus artist Brian P. Dailey in this participatory performance. Learn "Morris dancing," a folk dance while enjoying Dailey's improvised archaic circus antics. Roche presents a series of political paintings in the form of handkerchiefs used during the Morris dance, which contain references to contemporary political thought about the end of the current world system. When the apocalypse comes to "lift the veil", you will be ready with handkerchief in hand."


Tubal Freaks Sneek-a-Peek from Andy Roche on Vimeo.

HD, 2014

"Turtles have short legs, not for the walking,
Turtles have short legs, not for the walking,
But we can find it out, but we can find it out,
But we can find it out, but we can find it out.
Want to have a cigarette, not for the choking,
Want to have a cigarette, just king-sized"
-- Damo Suzuki

Fantasy is the only morsel available to the leashed dog.

Music: Black Vatican-- Owen Gardner, Andy Roche


"Their Hive Energies", shorts program, Chicago Underground Film Festival, 2014

"Micro", MCA Screen, Museum of Contemporary Art Chicago, 2014

Ann Arbor Film Festival, 2015




Nature's Bet | Washed Up In Heaven | David Price | Andy Roche from Andy Roche on Vimeo.

Nature’s Bet | Washed Up in Heaven

David Price, Andy Roche

4:22, HD, 2013 UK, US


David: I arrived in Chicago during the summer with thoughts of Le Corbusier's large-scale drawings made during lectures in mind, thinking that Andy and I might re-stage them somehow as an organizing principle for a new work. On our first evening together we became sidetracked by playing a lot of Yahtzee, and the five dice of that game became another organizing principle. We traveled to a remote lakeshore beach in northern Michigan, where our own large-scale drawings were made in the sand, and where our thoughts turned to Bas Jan Ader and the pirate ships that rob I.

Andy: Washed Up on the dessert shore, two men collapse into the dunes of a Heaven ruled by the holy-roller "Y-H-T-Z" (His full name disguised in a tetragrammaton so as to never call down the demon Hasbro.) Everyone knows Bas Jan Ader died at sea, conceptually and corporeally, but has anyone yet fully decoded Bob Marley's mystic poem "Redemption Song" which hides the name of the Real Killer? In Nature's Bet the House always wins with a Full House. Toss each die one at a time... this is your last roll! 



Lyra Hill invited me to take part in Brain Frame, a live comics reading performance night. A description from the BF site: "Andy Roche’s single page avant-comic A Cartoon? brought a signature mix of hilarity and poignancy, prank calls and dog attacks, personal confession and stand up comedy."

Andy Roche reads A Cartoon? from Lyra Hill on Vimeo.  

DAVID PRICE: INTO THE FIELD @ SE8 GALLERY, LONDON, UK | October 8 - December 1, 2012


Shadow Self Soul Murder | Sweet Dreams of Johanna | Chandell/Harry | Data/Lore | Andy Roche and David Price from Andy Roche on Vimeo.

My collaboration with London artist David Price continued with his inclusion of a piece of mine in his exhibition David Price: Into the Field at SE8 Gallery. The show included several nights of programed events two of which featured our shared film projects. On the second of these we screened a new video that was constructed around our correspondence titled "Shadow Self Soul Murder | Sweet Dreams of Johanna | Chandell/Harry | Data/Lore". Here's a basic description of the show from SE8:

Into the Field is a solo exhibition by David Price that includes the works of others, namely his fellow-artists G.Leddington and Andy Roche, and the writers Koen Sels and Anna Tebelius.

His work focuses on the gaps between things: between an artwork and its representation in another medium, and in fiction. The translation from one idiom to another also signals an exploration of different contexts in which to situate the artwork. His aim is not to make arresting or beautiful images through prints, sculptures or film; instead the work situates unremarkable things in a new light: a smudge left by a stick of liquorice, a sentence written in coffee grains held in cast glass, or perhaps a Super-8 film panning across a range of screen prints. An eponymous publication accompanies the exhibition, as does a series of events featuring its participants and others still.

SE8 Gallery

This is Tomorrow review


Fun in the Oven

46"x21", Digital print from medium format slide film, airbrush, 2012

Is that you, Kos-Mitch?

46"x21", Digital print from medium format slide film, airbrush, 2012


45"x54", airbrush on paper, 2012

But... Do you like

68”x 21”, Digital print from medium format slide film and airbrush, 2012

My Father, who is Art

47"x21", digital duratrans installed in fluorescent ceiling fixture, 2012

AR sings BS for Gv

5hr, book on tape, edition 30, 2012


Every Generation Has Appeared in Its Mouth

20"x30", Digital print from medium format slide film, 2012

They Are Alive and Move Autonomously

20"x30", Digital print from medium format slide film, 2012

The Flat, Divine Things of the Household

20"x30", Digital print from medium format slide film, 2012

The Tooth that Bites, that Really Cuts, Bites Through, and Liberates

20"x30", Digital print from medium format slide film, 2012

Property that Flows Towards Me

20"x30", Digital print from medium format slide film, 2012



During the Winter 2012 quarter at DePaul University I taught a section of DC233 Cinema & Art. I haven't included anything from my teaching work on my site before, but some events happened this term that should be shared. Just a few weeks into the course, the DePaul CDM hosted Werner Herzog. I and my students had the privilege of his presence as a visiting artist for one class meeting. This session was recorded and I repost it here. Surely, this isn't the definitive Herzog interview/talk, but it was ours! Some of the highlights that I hadn't heard him speak much about before this talk are his meeting P. Adams Sitney in Germany in the early 60's, and a direct address about his work's relationship to New Age sensibilities in his collaboration with Popol Vuh.

Werner Herzog ---> Visiting Artist DC233 Cinema & Art, DePaul University | Instructor: Andy Roche from Andy Roche on Vimeo.

Just a few weeks later our class hosted Lyra Hill, a Chicago filmmaker and comics artist. She and I have worked together quite a bit in the last year. I thought it was important for my students to encounter an artist just years older than themselves that works in 16mm. Hill didn't disappoint and I'm happy to report that several students have kept talking about her in class, in papers, and as reference for creative work for the rest of the term.

Lyra Hill---> Visiting Artist, DC233 Cinema & Art, DePaul University 1.19.12 | Instructor: Andy Roche from Andy Roche on Vimeo.




From The Center for Experimental Lectures' press release:

"Anthony Elms, Edie Fake and Andy Roche Alderman Exhibitions—350 N. Ogden Ave, 4th fl, Chicago, IL. Saturday December 17, 2011 7pm The Center for Experimental Lectures is pleased to announce its inaugural event with presentations by Anthony Elms, Edie Fake, and Andy Roche. Hosted by Alderman Exhibitions, the program will feature three new lecture/performances by these creative producers followed by an open discussion.


In Andy Roche’s new lecture Do You Feel Like We Do, he will speak about verbal abstraction as both empathic and agonistic. With references to his own work, Peter Frampton, and use of an effects table, his talk aims to explain expression that uses “less than an idea”.


The Center for Experimental Lectures is a platform for artists, theorists, and other cultural producers to push the boundaries of the public lecture format. The Center for Experimental Lectures curates and archives regular lecture events with hopes of providing occasion to think about not only the content of each unique lecture but also the possibilities of the lecture as a creative platform. The physical presence of the lecturer is a rich site for embodied and performed meaning making, and the Center for Experimental Lectures encourages the creation of new forms of experience-based information dissemination. The Center is directed by R. E. H. Gordon. Please visit or email for more information." 

The text of my lecture can be read here. What follows are the text slides from the talk that are not legible in the video documentation.


On May 7, 2011 Roots & Culture Contemporary Art Center in Chicago hosted a screening night of my work from the last few years. Patrick Friel wrote this blurb about the show on

"Riffin'" is an appropriate term for this program of film and video work by local artist Andy Roche, certainly for the three longest works showing. Roche touches on religion, politics, biography, travel, music, storytelling, performance, sex, avant-garde film tropes, documentary form, and more. The style veers towards pastiche, but this work isn't the standard cold, over-determined post-modernism of the 1980s: Rather, it's part of a scrubbier, more loosely-organized strain that might include Shana Moulton, Kent Lambert, and Jesse McLean. Roche has said that he's interested more in anecdotes than narratives and BORN TO LIVE LIFE in particular bears this out. An experimental-documentary-narrative hybrid (and we're never sure exactly what part is what) that is ostensibly a portrait film, it jumps from scene to scene, voice-over to sync sound, old home-movies (we think) to new footage, dramatic "recreations" to faux-public access-style interview. Along the way the subjects include Machu Picchu, masturbation, DIE HARD and ROBOCOP, weight loss, and spirituality. On the surface, Roche's all-over-the-map approach and grungy, almost anti-aesthetic look might seem simply unfocused and too rambling. But the effect is cumulative, building to an ultimately deeper exploration of loneliness, despair, and life on the fringe. In ANNOUNCING THE MYSTERIES, Roche films a hippie-like figure in an open wilderness area as he grunts into a microphone. The image is superimposed, two views of the man one on the other (doubling his importance), with this familiar experimental device accentuating the lyricism of the handheld camerawork and the soft sunlight on the landscape. The intent seems to be an ironic commentary on the myth of the avant-garde filmmaker as part magus, part man of nature (i.e.: Stan Brakhage, Bruce Baillie); mythopoeia as egomania. 

On the night of the show R&C also released a short book of two interviews between curator and artist Alexander Stewart with me. You can read them both here and here.


In Spring 2010 my old friend David Price was in the U.S. doing research on his PHD, a really fascinating project partly about the fictive artists in Don Delillo novels. I suggested he swing by Chicago after he was done toiling away in a Texas library so that we could work together on a project for Saturday Cinema. This space, ran by Kat Parker-Monteleone and George Monteleone, runs new artist films on loop every Saturday in the window of their Chicago apartment. We decided to make a new film for every week. All we had to begin the project was a rekindled friendship and a vague notion that it would be cool to be as cool as Dieter Roth and Richard Hamilton. What follows is a bit of the blurb and video transfers of the films.

2001-2010: Bardic Visions from Britain and the Americas
Hands Across the Water
Andy Roche | David Price


Roche/Price met at Chelsea College of Art and Design in London in 2001.  Their first collaboration is the 4 Super 8 films in this exhibition.  Each is given a title by both artists.  Most films are the result of deals, not collaborations.  This is also true in these productions.  The first, Double Denim/Serge De Nimes, inspired by Chris Isaak, pairs the Australian dancer Lou Hartman with a nocturnal survey of Mexican westernwear. 

Double Denim | Serge De Nimes / Andy Roche + David Price from Andy Roche on Vimeo.

Two Balls/Deux Balles volleys between a table tennis match contested by New Zealand musician Kerry Tyrrell and Price and a decades long racquetball match contested by Hospital Strategic Planner Art Roche and psychiatrist Dr. Tom Boxleiter.  The planner and doctor are reduced to graphic elements.

Two Balls | Deux Balles / Andy Roche + David Price from Andy Roche on Vimeo.

Double Dippin’ |MissouriàMississippi | M+M/A Wednesday in Heaven follows a race across Dubuque, Iowa held in May between Roche and Price.  Sharing a single bicycle, each cyclist was required to dip a bike tire in the tradition of RAGBRAI, where cyclists begin with a rear dip in the Missouri and conclude with the front in the Mississippi.  Roche was confined to the rear; Price the front.

Double Dippin’, Missouri→Mississippi, M+M | A Wednesday in Heaven / Andy Roche + David Price from Andy Roche on Vimeo.

David Price: Head to Head/Colour Dreams follows Roche’s inquiry in Price’s ideas about abstraction and color, or colour.  Skeptical, Roche interviews Price and allows him to demonstrate, in a controlled single roll experiment, his method.

David Price: Head to Head | Colour Dreams / Andy Roche + David Price from Andy Roche on Vimeo.



an At the Edge: Innovative Art in Chicago project


From the Gallery 400 show text:

"With the exhibition Black Iron Vatican Andy Roche develops an
aesthetic examination of the Catholic left. In an installation of
multiple video works and posters, Roche draws a relationship
between the subjectivity expressed in the radical witnessing of
Catholic leftists and the reverie of pop culture devotees holed up
behind bedroom doors. Featured elements of this, Roche’s first
solo exhibition, include a recitation of the rosary as a howling dub
performance, images of nuclear warheads played like marimbas,
the arrests that follow the annual protest trespass at Fort Ben-
ning, Georgia, and scenes of ecstatic collective protest.

The central piece, Black Iron Vatican, a 16 minute long silent
video, shifts through allusion and documentary toward evocative
results. Opening with a scene of discussion, possibly religious
testifying, the action quickly segues into found footage of the
Hennessey sisters, famous siblings and Franciscan nuns from
Dubuque, Iowa, long active in radical social activism. In 2001,
Dorothy, at the time 88, and Gwen, at the time 68, were sen-
tenced to 6 months each in federal prison for trespassing on Fort
Benning’s Western Hemisphere Institute for Security Cooperation
(formerly the School of the Americas), a base implicated in the
training of Latin American paramilitary groups known for hu-
man rights abuses. Setting a foundation for issues of witnessing,
surveillance, testifying, higher powers and subterfuge, the Hen-
nessey sisters imagery gives way to hammering hands and com-
mences to a series of disconcerting intercuts, including recent
footage of Fort Benning protests, that suture together the mun-
dane and the fantastical as based in faith and body. In fleeting
footage that is sometimes frenetic and sometimes elusive, even
foreboding, the zone of trespass at Fort Benning is established.
When one protestor, enacting her belief, quickly crosses that line,
the force of her capture is felt through a long close-up shot. The
fuzzy and faded exposures and focus of Black Iron Vatican re-
call the formal qualities of independent cinema as well as leftist
guerilla filmmaking of the 60s and 70s, evoking questions about
the position of the sites, activities and aesthetics of contemporary
protest as they have been influenced by established histories and

Several other works in the exhibition, videos and posters, raise
questions of disappointment, powerlessness, worship and fellow-
ship. One video work, Announcing the Mysteries (19 mins), takes
as its inspiration long running Catholic Television programs fea-
turing rosary recitation. The original typically featured soft focus
and superimposed edits with multiple camera angles trained on
an idyllic youth in a lush landscape leading the rosary and slowly
joined by others in his or her faith. In his self-performed work,
Roche’s incantation is more guttural and ambiguous. Isolated in
a rural landscape his primal repetitions point toward an earth-
bound aesthetic and incomprehensible pain, as well as a faith
that eludes definition as either ironic or sincere. Roche’s posters,
drawn from Super-8 film sequences, explore these themes in
highly saturated imagery manipulated through film distortion and
layering, video processing, and radical scale shifts. Throughout
the exhibition, the failure to attain a true transcendence of spirit
is omnipresent; the body from which this expression is uttered
continually betrays the ecstatic witnessing that Roche portrays.

Gallery 400’s At the Edge: Innovative Art in Chicago series annu-
ally commissions four new projects from Chicago area artists. At
the Edge aims to support experimental projects that might not
find support elsewhere."


From 2005, Born to Live Life is an experimental documentary that follows Victor Cayro from deep inside the body to far out into the astral plane. Around the time I made this one, charisma, here something like profound narcissism, transcendental narcissism, was a force I was trying to understand. The summer we shot this I was thinking about Aguirre: The Wrath of God, Space is the Place, and Zardoz. Victor was thinking about Robocop and Die Hard. Dubuque, IA plays itself, Peru, and its cablevisionary double. Victor does something similar.

This film was part of my MFA thesis at SAIC, and it has appeared in many galleries and festivals. One highlight of its screening history is when it won Best of Festival at the 2005 Iowa City Documentary Film Festival with Sam Green and Rebecca Baron as judges.

An imagined feature length version of this with the planned title Crossing Streams never happened, although another short resulted from some additional footage of Harpo Hutchinson, a legendary Dubuque, IA light bulb collector. In the larger film he and Victor were supposed to meet up as avatars in some other space and time, but Harpo didn't like his costume and wouldn't wear it.