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.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Open-ended, paradoxical and performed investigations into: misunderstanding, language games, form saturated with sense, and consecutive matters…
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
CCI Sound system: a performance in which new material will be mixed and phased between two huge PA’s, one a precise Meyer system, the other a huge wall of Marshall amps
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
A collaboration bringing together artists with a shared gravitational heft to their work; an intense and concentrated accumulation of detail and power.
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
We asked Christoph to come and give a sort of informal talk, raising some of his ideas about sound and image, and playing/ showing a few examples.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.