William Parker
William Parker
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
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.
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
A movement-based workshop on Krump and the politics of how we teach, learn and listen with our bodies. Move with us!
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
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.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
A sound of buzzing and flickering metallic drones, glottal stops and guttural growls, and also an explosiveness and purity of sound that reminds you as much of Bill Dixon as anyone else.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.