MICRO 1
Takehisa Kosugi
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
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.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
No Wave, damaged garage jams and crazed instant vocal shrieks.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
Jarrod Fowler creates a social space where layered one-to-one live encounters with the audience become sonic material.
A performed installation by one of Germany’s most interesting visual artists, based on edited transcripts of the 1961 trial of Adolf Eichmann in Jerusalem and the writings of Hannah Arendt
Finnish duo Grönlund Nisunen are known for their extraordinary work fusing incredible sounds with stunning objects in large scale sculptural installations.
Free jazz pianist John Blum with an everywhere-at-once presence in duo with Jackson Krall, incendiary free jazz drummer and sound sculptor
A series of reality dramas happening over the course of the weekend.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
Has neoliberal capitalism locked down social experience? Are our seemingly subjective desires, our identities, pre-packaged by dominating social structures?