
Overheard (Performance Part 1) and Festival Introduction
Resonance Radio Orchestra
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
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The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
A conversation between Philip and Moten: how do we read NourbeSe’s anti-narrative poetic lament in Glasgow today, given the city’s role in the history of slavery?
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
We’ll look more at psycho-emotional health – exploring experiences as opposed to diagnoses. And exploring collective care and collective healing.
INSTAL’s third outing saw performances by AMM, Cosmos (Sachiko M & Ami Yoshida), Voreboms, Vibracathedral Orchestra with Matthew Bower and John Godbert, Paragon Ensemble, Merzbow and Ryoji Ikeda.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
A cinema of the mind, a film to take place in the viewers’ imagination(s).
Jandek’s first ever live performance. Unannounced, the performance was a total surprise for everybody at the festival.
A socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.