
Hit Parade (New York)
Christof Migone
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
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.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
A collaborative performance where sound and image are created, performed and mediated by light, water and glass.
A performed self-cancelling discussion, with artists from the festival, invited speakers and local artists talking at once, over each other, or straining to be heard over the din.
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
A performance, a radio show, an installation, an endurance test. A game of chance. Constantly broadcasting live, actor Tam Dean Burn will leave Tramway at the start of INSTAL and walk away from it, in an ever increasing spiral, for a day. Then he’ll walk back.
First in a series of workshops for workers and non-workers who care. Does work that asks us to be attentive to the needs of others force us to sell our capacity for kindness?
A multi-media harp and spoken word tribute to the incalculable, the in-deducible, the suspicious static noise that accompanies the voice of truth, and the attempted aberrations in the domain of emergence.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.