4 Waters: Deep Implicancy
Arjuna Neuman Denise Ferreira da Silva
What would a world and an ethics look like free from the destructive consequences of the Western mind?
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.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
The worlds leading radio art station brings you: a performance, a radio show, an installation, an endurance test.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
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)
Trio vocal performance of a score by Achim Wollscheid with Aileen Campbell, Junko and Dylan Nyoukis.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery