Hermann Nitsch
Hermann Nitsch
A specially commissioned performance for organ. “The course of the stars were to be put to sound.”
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A specially commissioned performance for organ. “The course of the stars were to be put to sound.”
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
A 101 panel on sex work in Scotland, hosted by Scotland for Decrim and National Ugly Mugs
Strickland Distribution and Ultra-red give a practical sound workshop bringing together walk participants to discuss the issues raised during the walk
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.