
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.
Artist Derek Lodge running a specially designed social space, somewhere for conversation, story-telling and interaction.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
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?
Jean-Luc Guionnet will be giving a talk as part of the music department’s ongoing series of colloquia.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
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.
Vajra are a Japanese psychedelic rock supergroup, hewn from the collective consciousness of Fushitsusha’s Keiji Haino, folk radical Kan Mikami and percussionist Toshiaki Ishitsuka.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
An audio/ video, lecture/ performance exploring the queer and companionly inter-activity of human-animal relations.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?