In Our Hands 2025
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
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.
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
A meditation on how all of us perform — sometimes reinforcing, sometimes subverting — the shifting categories of gender, sexuality and race.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
A performed installation by one of Germany’s most interesting visual artists, based on edited transcripts of the 1961 trial of Adolf Eichmann in Jerusalem and the writings of Hannah Arendt
Freeform Super 8mm documentation of Saturday at Instal 06 by filmmaker Matt Hulse.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
Los Glissandinos work with clarinet and sine tones beating and thrumming in your middle ear, all beautifully paced and serene, but with just enough steely menace broiling under the surface to keep you on edge.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?