
Kill Your Timid Notion on Tour
In 2008 we toured our Kill Your Timid Notion festival of experimental sound and image to London, Bristol and Glasgow, bringing audiences a taste of the previous 5 festival editions.
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.
In 2008 we toured our Kill Your Timid Notion festival of experimental sound and image to London, Bristol and Glasgow, bringing audiences a taste of the previous 5 festival editions.
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Copying without Copying is 3 evenings of events that are about what happens when we speak, or when we hear someone speak on our behalf, when we share a collective moment of hearing and maybe understanding.
A performed self-cancelling discussion, with artists from the festival, invited speakers and local artists talking at once, over each other, or straining to be heard over the din.
An event exploring anarchic and communal situations of musical creation with MV, EE and The Cherry Blossoms.
Paul Sharits one of the great experimental, sometimes called structuralist / materialist, filmmakers of the 20th Century.
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
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?