 
Something Said
Jay Bernard
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
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.
 
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
 
A silent performance of (musical) reverberation.
 
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
 
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
 
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
 
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
 
I wanna be with you everywhere is an everywhere gathering envisioned for and by disability communities and anyone who wants to get with us. IWBWYE returns to Performance Space and any space on June 21 for an outdoor pop-up and hybridized event.
 
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
 
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
 
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
 
A voice that can vault from an elegantly whispered insinuation to asphyxiated and murderous barks or squalls in a heartbeat.
 
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?