
Soulnessless – Cantos I-IV
Terre Thaemlitz
An audio and video investigation of gender cults, Catholicism, hauntings and nuns’ use of audio devices…
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.
An audio and video investigation of gender cults, Catholicism, hauntings and nuns’ use of audio devices…
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
A life force of ecstatic clarity capable of loquacious bursts of affirmation.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
Paper Piece: Secrets is a performance for and with the whole audience, using paper, text, secrets, being in the crowd
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
These simple, one-take videos, relate personal experiences to the current conflicts in the Middle East via the most basic of means (a hotel room, a camcorder, John’s personal thoughts, concerns and convictions).
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?