
Sunburned Hand of the Man
Sunburned Hand of the Man
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
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.
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
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)
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.