
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?
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
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.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
Radu plays a trombone, Klaus creates pure sine waves: they sound on their own, or sometimes together and often with considerable space and silence.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
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.
Is it possible to dance our way out of the hardened stances and identity prisons we are locked in?
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.