FACT
Craig Dworkin
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
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.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Sax/Drums duo of raucous, pealing noise, and cries of beguiling lyricism, whispered sax phrases float in a timbral cloud of bowed metal and rumbling toms.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
A historical narrative of the black and latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to its artistic practices.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
A workshop for educators, activists and young people to think about radical, anti-imperialist pedagogy, and what fighting for the Palestinian cause looks like for young people in the imperial core. PDF of the resource available soon.
By focusing on the things that most people don’t notice or pass by uncaring – Steve Roden crafts gentle, sparse and metaphorically loaded compositions.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.