Matthias Schack-Arnott makes a habit of defying dimensionality.
I had the pleasure of seeing this myself in his Sydney Festival performance of Polar Force, in which he and Eugene Ughetti played industrial hoses, pressurised air canisters, ice and bubbles as bespoke instruments to plunge audiences into a perilous expedition to the barren centre of Antarctica, in a radical upheaval of ideas surrounding space and performance.
Matthias Schack-Arnott. Photo © Gregory Lorenzutti.
“As percussionists, we could use anything. We’re used to thinking that any object is a potential sound object, which is great, but it also doesn’t narrow things down,” says Schack-Arnott, laughing.
“So, you sort of have to work out your own restrictions.”
In March, the Melbourne-based percussionist and artist will tour The Cage Project to Perth and Adelaide Festivals with Musica Viva Australia – another step in their relationship, after his selection as a 2018–2019 MVA FutureMaker (the company’s professional development program).
After Musica Viva’s current Artistic Director Paul Kildea had witnessed Schack-Arnott’s work Everywhen – another instance of the artist’s novel forging of musical dimensionality as he interacts with percussive...
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