Brian Dillon Talk
Brian Dillon
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.
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.
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 discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
An open conversation around the history and practices of the Ueinzz Theatre Company – a radical Brazilian schizoscenic theatre company of carers, so-called psychotic patients and philosophers.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
One-shot sonic portraits of 4 houses, their inhabitants and their relationship to sound, from 2 of the most deep-thinking field-recording artists around.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
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.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.