
Kazuo Imai
Kazuo Imai
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
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.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
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.
Thought and action, writing and protesting. A chat with Nat Raha, KUCHENGA and Jackie Wang asking what can be learnt from writing across genres by agitators, activists and abolitionists?
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
The role of feelings in public life, (political) depression and creative survival.
Akio Suzuki and John Butcher performing by the Stones of Stenness, instead of the Ring of Brodgar, because of bad weather.
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
Avant-wrongdoers Blood Stereo performing in Garthamlock the town spawned them.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?