An Archive of Feelings
Ann Cvetkovich
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
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.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
A sound of buzzing and flickering metallic drones, glottal stops and guttural growls, and also an explosiveness and purity of sound that reminds you as much of Bill Dixon as anyone else.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.
Giants of the Japanese avant-rock scene Ruins are a hardcore prog rock bass + drums duo led by drummer extraordinaire Tatsuya Yoshida and joined in Dundee by Sasaki Hisashi.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
A simple hands on workshop with micro-radio theorist and pioneer Kogawa.
Sachiko M and Ami Yoshida, two of the most prominent members of the Onkyo movement, place much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid.
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?