AR ARCHAEOLOGICAL RECORDS
AR.P.00 – Archaeological Records, Christophe Szpajdel: Dark Clear Line. Handout for the AWE/Art Week; Exeter, 2018
AR.R.00 – ?Alos, The Chaos Awakening. LP. AR, Dio Drone, Cheap Satanism, 2018
AR.L.01 – Roberto Baldazzini and Dario Ghibaudo, Mutazione. Exhibition. AR for Contemporary Cluster #09; Roma, 2018
AR.P.01 – AAVV, Roberto Baldazzini, Epifania di un genotipo. Mutazione exhibition catalogue. AR, 2018
AR.L.02 – Christophe Szpajdel, Darkening Ligne Claire. Exhibition and workshop. AR, Dio Drone; Firenze, 2018
AR.L.03 – Liles/Maniac, ZU, Dio Drone Festival VIII. Happening. Dio Drone, AR; Firenze, 2018
AR.R.01 – Christophe Szpajdel, Liles/Maniac, Darkening Ligne Claire. BOX SET. AR, 2019
AR.R.02 – ZU, Terminalia Amazonia. LP, CD. AR, House of Mythology, 2019
AR.L.04 – Peter Crosthwaite, Floralism radio. Soundtrack. AR, Floralism; Roma, 2020
AR.P.02 – AAVV, Christophe Szpajdel, Archaic Modernism. Book. Heavy Metal Artworks, AR, 2021
AR.R.03 – Liles/Maniac, Fearenze. BOX SET. AR, Dio Drone, 2021
AR.L.05 – Peter Crosthwaite, Floralism radio. Soundtrack. AR, Floralism; Roma, 2021
AR.L.06 – Roberto Baldazzini, Tiziano Popoli, Giulio Di Mauro, Selinute. Live video. AR per Circolo Bononcini; Vignola, 2021
‘Archaeological record’ is a term used in archaeology to denote all archaeological evidence.
It includes the physical remains of past human activities as well as contemporary artifacts.
Archaeological Records is an independent organisation – operating as curator, record label and publisher – aimed at creating a playground between music and archaeology.
Ancient music is poorly catalogued and remains largely unknown, but with research these forgotten forms, ancient melodies and instruments can be re-imagined and reborn. AR is a project based on the belief that research into new and existing archaeological records can be analysed and theorized in new ways.
AR was founded in 2017, starting from the consideration that every artistic work has an ecological impact that is difficult to justify. This is why we planned a reduced catalog and adopted a peculiar approach to artifacts, a free digital fruition policy, and the offsetting of our carbon footprint.