Fort Process is an expansive multidisciplinary music and arts festival that takes place in the evocative spaces of Newhaven Fort in East Sussex. After a very well-received debut in 2014 the festival is back for a second edition, with an extensive programme featuring site-specific sound installations, international musicians, talks, films, poetry and workshops.
The Fort Process experience is quite unlike any other: half the festival-goers are hidden underground, making their way through a warren of tunnels to listen to performances in eerie chambers and bolt holes. Meanwhile, above ground the other half are roaming in and out of gun emplacements, radio shacks and laboratories on the fort’s ramparts.
Built in 1860, Newhaven Fort is an alluring site, rich in human and natural history. After being decommissioned as a military facility the fort has undergone neglect and subsequent restoration, with many of the features of its inner architecture remaining intact, including the rumoured ghost in the Caponier. Built physically into the geology of the South Downs, it gives it a unique perspective of Newhaven town and the hills and sea of the area.
Fort Process 2016: Artists and Spaces
We have programmed the day so that as you walk about the site you will find sound art, music, films and talks in every hidden corner of the fort. In the Grand Magazine, a very resonant bunker where the armaments were once kept, the German composer and percussionist Limpe Fuchs will hold court. Now in her mid 70s, Limpe is a veteran of the nomadic experimental counterculture arts group Anima; she will be bringing to the fort the hand-built large scale instruments she crafts from granite, scrap metal and found objects.
In the corrugated steelclad Romney Hut the French inventor and trumpeter Pierre Bastien will perform with his musicmaking kinetic sculptures. Musical automata will also feature in Sarah Angliss’ performance and a space housing the Mechanical Techno alchemist Graham Dunning, who will be creating new pieces in real time with collaborators such as Henry Collins (aka Shitmat), Leslie Deere and the tuba player Sam Underwood.
Movement is explored as a significant theme of this year’s Fort Process. Alongside the contraptions mentioned above, emphasis has been placed on the curation of ‘sound and moving image’ the festival will be presenting Sculpture’s zoetropic turntablism, the expanded 16mm horrorcinema of Sally Golding, and an installation by Dutch artist Mariska de Groot that explores optophonics with her analog ‘lighttosound’ instruments.
Archive: Fort Process 2014
What people said about Fort Process 2014:
It was a magical day with terrific music, a creative use of all the place's many nooks and crannies, great ale (good price too!), a lovely friendly crowd and stunning sunset from the top of the fort. It felt like a real privilege to be there. I hope when you've got your collective breath back you do another one!
Best fucking thing ever. Herculean effort from all involved - top, top work.
Fort Process was incredible. A brilliant event of sonic wonders in amazing surroundings.
It was an excellent experience - great cross selection of music/installation and a great location. Probably my favourite festival in recent years.
Congratulations on bringing off such a major event. I had a great time.
That was amazing. I had a brilliant time. Fantastic job, everyone. Really special.
So much incredible stuff going on yesterday at Fort Process - saw some truly amazing people performing.
A wonderful day at a fantastic site, with loads of great stuff. Cheers all!
Sublime festival - thanks to all of you for organising Fort Process and working so hard to make it happen - brilliant!
Press Reviews of Fort Process 2014:
“Organisers Lost Property excelled themselves at their inaugural festival event, curating a nearimpossible convergence of artists and installations in a complex space chosen precisely because of its challenging qualities.” Ben Graham, The Quietus
“…there’s something delightfully relaxing and not a little subversive about strolling around what was once an outpost of stiff discipline, oblivious to stage times or potential clashes, and open to the joy and surprise of accidental discovery.” Daniel Spicer, The Wire
“The place was riddled with nifty installations, every twist and turn revealed more: motorised wire fountains, rusted platebouncing batons, numerous lakes of candles, slowly melting ice blocks… things just unfolded, far removed from the choking congestion of other festivals.” Michael Rodham, Heaps