Translation
Simon Morris
Simon Morris is joined by Nick Thurston as they attempt to read aloud whilst peddling on exercise bikes.
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.
Simon Morris is joined by Nick Thurston as they attempt to read aloud whilst peddling on exercise bikes.
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.
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
A tour with John Butcher and Akio Suzuki that set out to allow the audience to experience (and to listen to) the enviroment around them in different way.
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?