Bleu Shut
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
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.
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
How do we gesture to the invisible, the trans or the obscure? A performative conversation between boychild and Fernando, a sharing of gestures, and a bodily back and forth between mathematician and dance artist.
What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?
A sort of prayer and conference, a sort of scream and dialogue – a monologue and declaration at the time, addressing how we can build complicity with one another.
Merzbow takes the junk of sound and transforms it into blistering noise assaults with an incredible spectrum and impact.
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Durational group-mind drone and clatter: bamboo, electronics, the contents of your local ironmongers bin. A 3-hour set from this legendary Japanese improvisation group.
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?