#untitled lipsync 2
boychild
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
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.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Juliana’s performances chart the dissonant space and discrepancy between the presumed fixed norms of social life and the fluid lived experience those norms don’t allow for.
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Open community meeting to discuss some of the prevalent concerns impacting the ballroom community.
Expansive and considered, inclusive and deeply human minimalism: Antoine Beuger, Radu Malfatti, Manfred Werder.
A performance of Ueinzz’s new play. Each Ueinzz performance is a process of reinvention, between exhaustion and a fleeting vision: singular, collective, anonymous, plural, suspensive, intensive, unworking life.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.