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.
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‘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.
Summing up of the investigations with a reflection on what has been done that week and what could be done the next.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
Goofily deformed, deeply thought vocal jams: like the sound of your own breath rushing through your head.
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
Beatriz will explore her thinking, on film as translation, plural subjectivity or land-based militancy. Discussion will centre around her work Oriana and its companion piece Oenanthe, which will be screened in full.
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
How do we gesture to the invisible, the trans or the obscure? A performative conversation between boychild and Fernando, a sharing of gestures, and a bodily back and forth between mathematician and dance artist.
This event honoured those individuals who achieved the status of Icon during the period of 1986-1990.