‘I wanted to write about exhaustion the way I used to write about love. Like love, exhaustion both requires language and baffles it, and like love, it is not as if exhaustion will kill you, no matter how many times you might declare that you are dying of it. Exhaustion is not like death, either, which has a plot and a readership. Exhaustion is boring, requires no genius, is democratic in practice, lacks fans. In this, it’s like experimental literature.’
– Anne Boyer, The Undying

‘The most curious property of melancholia, and the one most in need of explanation, lies in its tendency to turn into the symptomatically opposite state of mania’
– Sigmund Freud, ‘Mourning and Melancholia’

Saturday night’s cohabitation of extremes will see a rare visit by 81-year-old American legend Roscoe Mitchell, multi-reedist, composer and founding member of the Art Ensemble of Chicago and AACM (Association for the Advancement of Creative Musicians), as part of a three-date UK residency (in partnership with the Serpentine Galleries and Wigmore Hall); new orchestral works by artist and electronic producer Elvin Brandhi, composer Oliver Leith and internationally renowned artist Cerith Wyn Evans; and the much anticipated European premiere of acclaimed American composer Tyshawn Sorey’s For Roscoe Mitchell, alongside negelcted Fluxus founding member Ben Patterson’s First Symphony.

Elsewhere ‘the aesthetics of haemorrhaging realities’ (Mazey, Sad Boy Aesthetics) takes over. We present a live performance from young, London-based producer No Home, following their critically acclaimed albums Fucking Hell and hello, this is exploitation: ‘Surviving under capitalism is a drag — it’s the oldest story in rock’n’roll,’ writes NM Mashurov, ‘But No Home captures the weight of its dehumanization in a uniquely visceral way.’ Alongside this will be a newly commissioned requiem from turntablist and master of fragmentation and its potential ecstasies, Mariam Rezaei.

Woven between these musical explosions and exhalations will be two visceral short films from the archive of the extraordinary Japanese experimental artist Stom Sogo.