Austin 05
Jandek
Jandek performing at the Scottish Rite Theatre in Austin, Texas with Juan Garcia, Nick Hennies and Chris Cogburn.
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Jandek performing at the Scottish Rite Theatre in Austin, Texas with Juan Garcia, Nick Hennies and Chris Cogburn.
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
A performance, a radio show, an installation, an endurance test. A game of chance. Constantly broadcasting live, actor Tam Dean Burn will leave Tramway at the start of INSTAL and walk away from it, in an ever increasing spiral, for a day. Then he’ll walk back.
Slowly evolving ultra-subtle harmonics and multi-tracked, otherworldly drones that only reveal their true power at high volume.
A whistle stop tour of visual and material culture that has anchored the sex workers rights movement through the decades until today.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
The Echo project is an installation as audio guide for a crowd. And at the same time it’s a private conversation: with you, as one of 20 people in a room, a sort of public intimacy.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.