#untitled lipsync 3
boychild
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
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.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
During Episode 9 we made this clip with Storyboard P at Kinning Park Complex. Video by Ash Reid.
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
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.
Join Brian as he ruminates on the history of how experimental filmmakers and sound artists have drifted into and taken over galleries in order to show their work.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.