Collective Art Workshop
Scotland for Decrim
Join Sex Workers For Decrim for a sex worker only collective art workshop and be part of creating a massive visual timeline of sex worker resistance in Scotland.
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.
Join Sex Workers For Decrim for a sex worker only collective art workshop and be part of creating a massive visual timeline of sex worker resistance in Scotland.
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
A kind of an informal overview of INSTAL.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
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.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?