4 Waters: Deep Implicancy
Arjuna Neuman Denise Ferreira da Silva
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
60 minutes of hard ass minimal film, projected onto a weather balloon and accompanied by the inspired poetic rant of a visionary Frenchman.
The 2006 INSTAL festival saw a broad selection of artists that included Blood Stereo and Ludo Mich, Ellen Fullman and Sean Meehan, Keiji Haino and Tony Conrad and a specially created performance by Maryanne Amacher.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?