Filament: Sachiko M & Otomo Yoshihide
Otomo Yoshihide Sachiko M
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
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.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
Amid the blur of erotics, the jangle of poetics, and the fetishizing of sickness and disability, the heat of Panteha’s performance and sculpture freezes all.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
Freeform Super 8mm documentation of Saturday at Instal 06 by filmmaker Matt Hulse.
A recording session for BBC Radio Scotland under the M74 ‘Ski Jump’ extension ramp, a secion of motorway that doesn’t go anywhere, one of several such structures that populate the motorway system in the centre of Glasgow.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Solo organ performance by German composer Eva-Maria Houben, which focuses on ‘nearly nothing’ to expand the way we listen.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.