It’s Sorta Like a Big Hug
Constantina Zavitsanos Park McArthur
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
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.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
The second of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme highlights contemporary works.
A recreation of one of Gustav Metzger’s celebrated auto destructive performances.
Series of short sets by Acid Mothers Temple / Ruins offshoots Zubi Zuva X, Akaten & Zoffy.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.
A Study Session focused on the thinking of Ailton Krenak – one of the great leaders of the Brazilian indigenous movement – led by curators and artists Amilcar Packer Arissana Pataxó.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.