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.
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
Edinburgh. Cask-strength electrohypnol and shroom damaged folk croonings by Lapsed Electronics empire builder.
An open conversation around the history and practices of the Ueinzz Theatre Company – a radical Brazilian schizoscenic theatre company of carers, so-called psychotic patients and philosophers.
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
A public gathering that brings together local artists, musicians, activists, and community organisers.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Setting up a minimal procedure to explore the interaction between a person and the (documentary) film/ video process. What initially seems simple ends up contrarily distanced and intimate, public and private.