Infest – Polly Shang Kuan Band
Polly Shang Kuan Band
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
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.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
For day two of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by the Vogue’ology collective.
A Performance exploring the nature of acousmatic listening; sound removed from visual context and understood for it’s own properties.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
How black radical practices of abolition imagine a way out of the caging and mass killing of life.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Now a two day festival, INSTAL 04 was borne of a desire to open eyes, challenge audiences and expand musical horizons. This was also the year in which a certain representative from Corwood Industries made his first ever live appearance.
Amid the blur of erotics, the jangle of poetics, and the fetishizing of sickness and disability, the heat of Panteha’s performance and sculpture freezes all.
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?