Queer Liberation: No Prisons, No Borders
Dean Spade Hope Dector Tourmaline
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-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 crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
A performed filmic conversation on queer and black world making.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
Birthed from the collective stagger in global consciousness of the late 50’s and 60’s, this programme celebrates epochal, groundbreaking films that all address sound in their own way and that have opened pathways to experimentation.
A spectacular musical show which discusses the representation of a nation state, its characters and history. A learning play on myth construction and its reproduction.
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
A series of badly felted lock-ups and garages + multiple locations within the Megastructure – a purpose built town centre in one building, comprising (in the 50’s at least) of housing (never occupied), shops, apartments, a hotel, ice rink, police station and other amenities
This mini, late-night ball will include categories inspired by the events earlier in the weekend.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.