
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)
Slowly evolving ultra-subtle harmonics and multi-tracked, otherworldly drones that only reveal their true power at high volume.
Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
Artist Derek Lodge running a specially designed social space, somewhere for conversation, story-telling and interaction.
(Cyber)feminist, non-essentialist transgender and queer daily radio shows using the formula of morning radio as an arch way of thinking about the scripted behaviour and controlled empathy of systematic care.
Each organ is unique. The project is to find out what makes it unique.
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.