Filament: Sachiko M & Otomo Yoshihide
Otomo Yoshihide Sachiko M
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
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.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
A preposterously heavy, eye of the storm musical tug of war, in which two drummers, electronics and electric guitar fall over each other in a droning crush.
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
An original and beautifully simple performed installation forging a direct link between sound and image.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
Dundee. Progressive rhythmical guitar squall vs. post-highland discorporate dusk-jockey.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Coming to us from Taipei, Yo-Yo sends us elsewhere while bringing us back with her to the timezone of tomorrow. A dancer, media artist, and choreographer who makes multi-dimensions and realms, Lin’s amplification of energies and connections across bodies devolves the separations we are taught to abide.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
In this response to the Self Cancellation project, Lee Patterson dissolves medicine in glasses of water and explores the sonic content.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.