Sunburned Hand of the Man
Sunburned Hand of the Man
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
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.
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
A silent performance of (musical) reverberation.
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
Strickland Distribution and Ultra-red give a practical sound workshop bringing together walk participants to discuss the issues raised during the walk
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary listening.
Sax/Drums duo of raucous, pealing noise, and cries of beguiling lyricism, whispered sax phrases float in a timbral cloud of bowed metal and rumbling toms.
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
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.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?