
MICRO 1
Takehisa Kosugi
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
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.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
TEST is a collective creative improvising quartet based out of the NYC Underground (figuratively and literally). Their street-hardened, spatial Jazz is riotous and intense: is also makes us think about collective organization, and different ideas of responsibility and liberty.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Join Umbrella Lane and special guest migrant trans sex workers in a community discussion about the points of intersection in LGBT people’s rights and sex worker’s rights.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
A film as a translation of Monique Wittig’s landmark feminist novel Les Guérillères, in which a plural protagonist of militant feminists inhabit a fantastical, enigmatic and hallucinatory miasmatic space-time of post Hurricane Maria Puerto Rico.
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.