
Usurper
Usurper
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
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.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
A panel exploring the poetics of abolition. “Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change.”
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
Two figureheads of the minimalist electronica pulse, Ikeda and Nicolai have been responsible for some of the most innovative and ground-breaking music of the last decade, redefining experimental electronica.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
A series of reality dramas happening over the course of the weekend.
Dir: Maurizio Lazzarato & Angela Melitopoulos
A filmic constellation exploring Felix Guattari’s anti-patriarchal, anti-colonialist, anti-psychiatric, animist ideas of care and the self. And an Introduction to the Episode.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.