
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.
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.
‘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.
The second of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme highlights contemporary works.
Complexly interacting colossal drones by the creator of some of the most legendary yet least heard music of the 70’s.
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
Akio Suzuki and John Butcher performing in a large multi chambered industrial ice house.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
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?
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang