Infest – Ben Reynolds
Ben Reynolds
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
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An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
Sparse and miniature free thought workouts involving guitar, vocals and tuba.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
Akio Suzuki and John Butcher performing by the Stones of Stenness, instead of the Ring of Brodgar, because of bad weather.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
Do ideas emerging from particle physics help to re-think of blackness as a mode of life in which it’s possible to practice difference without separation?