
Usurper
Usurper
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
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.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
Expansive and considered, inclusive and deeply human minimalism: Antoine Beuger, Radu Malfatti, Manfred Werder.
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.
5 days of film, music, discussion and study of our collective incompleteness—arrayed against the colonial ordering of how we come to know the world—practicing how we might exist otherwise, right here and now. Can we start to know and practice the world to come?
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
Ten short intimate one-on-one conversations with Robert Softley Gale – We all want to see ourselves reflected in the world around us—in society, in art, in culture… in porn?
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
A Performance exploring the nature of acousmatic listening; sound removed from visual context and understood for it’s own properties.
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.