Infest – Birds of Delay & Nackt Insecten
Birds of Delay Nackt Insecten
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
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.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
Kenneth Goldsmith reads extracts of his conceptual poetry and Achim Wollscheid manipulates mobile phone signals.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?