Incapacitants
Incapacitants Junko Kazuo Imai
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground 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.
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground music.
(Cyber)feminist, non-essentialist transgender and queer daily radio shows using the formula of morning radio as an arch way of thinking about the scripted behaviour and controlled empathy of systematic care.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
The worlds leading radio art station brings you: a performance, a radio show, an installation, an endurance test.
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?