Investigation – Taku Unami
Taku Unami
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
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.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
The reknowned artist Kjell Bjørgeengen works collaboratively with innovative musicians to make complex installations. Channels of flickering light are produced in response to and from sound.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
“Beginning where you and me ends, where we don’t so much come but are already here.” Join James and Nisha to talk about breath, erotics and flesh, about our social, poetic cosubstantiality.
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
Freak-out group for the 21st century perform a live soundtrack to Ira Cohen’s infamous psychedelic masterpiece ‘The Invasion of Thunderbolt Pagoda’
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?