Kill Your Timid Notion 03
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
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.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
Each organ is unique. The project is to find out what makes it unique.
Complexly interacting colossal drones by the creator of some of the most legendary yet least heard music of the 70’s.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?