Self Cancellation – Seed Burn / adh
Lee Patterson Rhodri Davies
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
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.
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
One of the most incessantly experimental musicians in the UK, Youngs’ aesthetic is entirely unique, never really part of any scene [whilst influencing many], steadfastly unafraid and honest
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
A festival hewn from passions for experimental music, film and visual art and for a passion in figuring out how they can relate to, cross-fertilise and inspire and each other.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Work that focuses in on the static hiss and background noise of recording and pushes it to the fore.
This session focuses in on the defiant mutual aid practices of early and DIY feminist movements in the UK, that attempted to shift and radicalise care and kinship away from the domain of the nuclear family.
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?