
Soulnessless – Introduction
Terre Thaemlitz
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
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.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
Organised by Twiggy Pucci Garcon and Pony Zion, The Masters Ball focuses on the work of 50 individuals designated within the scene as ‘masters’ in their respective performance categories, which include Vogue, Runway, and Face.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
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.”
Performances at CCA Glasgow by Keiji Haino, My Cat Is An Alien, Taurpis Tula, Jandek with Richard Youngs and Alex Neilson.
Performances at St Giles in the Fields, London by Jandek, Rhodri Davies & Angharad Davies, Rauhan Orkesteri.
Kanta is a young Japanese artist with a home-made, short circuited take on electronics and physical phenomena which he uses in performance to produce close circuit systems of audio / video feedback.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.