
Public Feelings
Ann Cvetkovich
The role of feelings in public life, (political) depression and creative survival.
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.
The role of feelings in public life, (political) depression and creative survival.
For this one off performance Vibracathedral Orchestra are joined by Matthew Bower and John Godbert from mighty UK heavy/drone/psych free-noise behemoths Skullfower, Sunroof! and Total.
Glasgow based contemporary music group Paragon Ensemble performing an improvisation with Pete Dowling, Nick Fells, Robert Irvine and others.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
This mini, late-night ball will include categories inspired by the events earlier in the weekend.
A conversation and livestream considering a global feminist critique of capital with Silvia Federici, Hortense Spillers and Gayatri C. Spivak.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?