
What is the Sound of Freedom?
Ultra-red George Lewis
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
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For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
Dave will lead a session created for teenagers and designed to stimulate a supportive environment for artistic exploration through music improvisation.
Writing that shows us that, even in struggle, there is light to be let in.
Poems are kisses, fists, and underground rivers. For all these reasons and many more, I am a poet.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
By focusing on the things that most people don’t notice or pass by uncaring – Steve Roden crafts gentle, sparse and metaphorically loaded compositions.
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery
An introduction to gender and embodiment for cisgender folk (i.e. those whose experience aligns with their assigned gender). This will look at the ways our embodied experiences are shaped by our gender, and explore what it means to support trans siblings in practice. This session will be led by Tripod.
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.