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.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
Edinburgh. Sinewave manipulating Giant Tank-ette goes head-to-head with Decaer Pinga’s first lady of noise.
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?