Self Cancellation – Dry Ice With Metal
Michael Colligan
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
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.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
Life and death dramas unfold in the snowy American North, using three-screen documentary footage and a soundtrack by KYTN favourite, vocalist Daniel Menche.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
In rethinking the body, the law, the state, gender, race, violence, care and empathy, how we might give humanness a different future?
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
First in a series of workshops for workers and non-workers who care. Does work that asks us to be attentive to the needs of others force us to sell our capacity for kindness?
In this response to the Self Cancellation project, Lee Patterson dissolves medicine in glasses of water and explores the sonic content.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.