
UNINSTAL
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
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.
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
Live ISDN drone performance resonating between Dundee and an empty Montreal Grain Silo.
Conceptual writer and practicing lawyer Vanessa Place performs and talks with Mark Sanders, author of the brilliant “Complicities: The Intellectual and Apartheid”
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.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?