
Overheard (Performance Part 1) and Festival Introduction
Resonance Radio Orchestra
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
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The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
This mini, late-night ball will include categories inspired by the events earlier in the weekend.
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
Beyond time, colorlines, ability, and sexuality, a movement exploration into what it means to see and be seen, how hearing contrast with what is actually being heard.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
‘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.