Combatant Status Review Tribunal
Andrea Geyer Ashley Hunt David Thorne Sharon Hayes Katya Sander
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
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.
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
Do ideas emerging from particle physics help to re-think of blackness as a mode of life in which it’s possible to practice difference without separation?
Blood Stereo & Ludo Mich: linking past and present generations of DIY intuitive expression in a post fluxus ‘big mess’.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
Beat poet Ira Cohen’s now infamous and wildly psychedelic film odyssey feeds one’s own seeing apparatus through beautifully warped and distorting mylar mirrors, resulting in a film dense and rich with visual arcana and poetry.
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?