Oshiri Penpenz
Oshiri Penpenz
No Wave, damaged garage jams and crazed instant vocal shrieks.
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.
No Wave, damaged garage jams and crazed instant vocal shrieks.
Performances at St Giles in the Fields, London by Jandek, Rhodri Davies & Angharad Davies, Rauhan Orkesteri.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Quintessentially British, The Bohman Brothers’ music is a home-made and DIY conflux of some of the most virulent strains of experimental music.
An utterly deep introspection told in aching, weeping guitar lines; melodic, simple, always minimal but somehow entirely epic.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.