
The Secret of Music – discussion
Alan Cummings Keiji Haino
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
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Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
Writing that shows us that, even in struggle, there is light to be let in.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
The second edition of the INSTAL festival broadened it’s scope to include performances from Francisco Lopez, Phil Niblock, Stefan Mathieu, Alva Noto, Ryoji Ikeda and John Wall.