Realness
Charlene Sinclair Fred Moten Icon Ayana Christian Michael Roberson Tourmaline
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
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.
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
In rethinking the body, the law, the state, gender, race, violence, care and empathy, how we might give humanness a different future?
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
A festival asking how ideas of nihilism, darkness, subjectivity and abjection play out in experimental music, performance art, horror, neuroscience and philosophy?
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
A recreation of one of Gustav Metzger’s celebrated auto destructive performances.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
Droner responsible for Fordell Research Unit, Muscletusk’s murk manipulator and Metzian concrete-mixer cement international relations and yr heids.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.