Free-form hook up
Aileen Campbell Dylan Nyoukis Phil Minton
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
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.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
Merzbow takes the junk of sound and transforms it into blistering noise assaults with an incredible spectrum and impact.
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
A cast of pioneering and provocative spirits who exist outside the mainstream, between borders and definitions; a series of events that each explore different aspects of music that doesn’t quite fit any given category. INSTAL 08 included the Self-Cancellation project.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.