
Fred Moten – Reading
Fred Moten
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
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African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
A collaborative social justice project that uses art, activism and awareness to combat the systemic oppression facing young, trans, queer & gender nonconforming people of colour.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
How do grassroots feminist organisations strategise relationships between mothers, parents, carers and their children based on respect and empowerment, in resistance to the practice of putting children in often the most uncaring of places – care.
Location: between: the abandoned site of Parker House (ex-council office building) that became a student accommodation regeneration project, off the Dudhope roundabout; Bell Street Car Park entrance ramp and; the awkward (and otherwise used/ used otherwise) space left over between the back of Tesco’s and DW Sports on the Murraygate.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
A historical narrative of the black and latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to its artistic practices.
Can we find ideas of queer anarchism, failure and low theory in popular culture?
This event honoured those individuals who achieved the status of Icon during the period of 1986-1990.
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.