 
Miss Major in conversation with Eric A Stanley
Eric A Stanley Miss Major
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
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.
 
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
 
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
 
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
 
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
Arrive, get settled, be hosted and meet-up in IRL and URL.
 
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
 
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
 
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
 
In 2008 we toured our Kill Your Timid Notion festival of experimental sound and image to London, Bristol and Glasgow, bringing audiences a taste of the previous 5 festival editions.
 
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
 
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
 
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.