Improvisation, Make-up and Lip-sync
boychild
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
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.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Performances at Anthology Film Archives by by Loren Mazzacane Connors, Alan Licht & Jandek.
Paper Piece: Secrets is a performance for and with the whole audience, using paper, text, secrets, being in the crowd
Ex Ganger guitarist’s solo performance for guitar and fx, featuring breathless processed guitar, complex in structure and melody.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Avant-wrongdoers Blood Stereo performing in Garthamlock the town spawned them.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?