MICRO 1
Takehisa Kosugi
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
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.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
A cinema of the mind, a film to take place in the viewers’ imagination(s).
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
In true reality television style, this in-depth artist talk will tackle all the hardest-hitting questions and juiciest details about care, creative collaboration, and disability justice.
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
A collaboration bringing together artists with a shared gravitational heft to their work; an intense and concentrated accumulation of detail and power.
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?