
John Butcher & Ingar Zach
Ingar Zach John Butcher
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
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.
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
For day two of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by the Vogue’ology collective.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
The Experimental Improvisers Association of Japan, [EXIAS-J] are a loose collective of musicians and dilettantes who seem to represent an entire and self sufficient scene in one band.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
One of the most incessantly experimental musicians in the UK, Youngs’ aesthetic is entirely unique, never really part of any scene [whilst influencing many], steadfastly unafraid and honest
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.