Hisato Higuchi
Hisato Higuchi
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
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.
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
For this day-long festival, sex workers and their allies from New York, the tri-state area, and Europe will gather at MoMA PS1 to debate, perform, dance, strategize & share knowledge.
Voguing, drag, clubbing, and the politics of communities making different performances of gender and sexuality visible.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
The Echo project is an installation as audio guide for a crowd. And at the same time it’s a private conversation: with you, as one of 20 people in a room, a sort of public intimacy.
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
Thought and action, writing and protesting. A chat with Nat Raha, KUCHENGA and Jackie Wang asking what can be learnt from writing across genres by agitators, activists and abolitionists?
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?