De Musicorum Infelicitate
Esther Ferrer Walter Marchetti
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
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.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
Come for the crip ingenuity; stay for the smooth feels of what it is to be each other’s everything.
Edinburgh. Sinewave manipulating Giant Tank-ette goes head-to-head with Decaer Pinga’s first lady of noise.
A spectacular musical show which discusses the representation of a nation state, its characters and history. A learning play on myth construction and its reproduction.
INSTAL’s third outing saw performances by AMM, Cosmos (Sachiko M & Ami Yoshida), Voreboms, Vibracathedral Orchestra with Matthew Bower and John Godbert, Paragon Ensemble, Merzbow and Ryoji Ikeda.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
Thuja specialise in a unique and abstract folk music, a devoutly organic tapestry deeply rooted in the sway and bow of nature.