Stalled at Universal – Opaque
Opaque
Glasgow. Low-end drone guitarage army in praise of the open chord.
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.
Glasgow. Low-end drone guitarage army in praise of the open chord.
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
A film as a translation of Monique Wittig’s landmark feminist novel Les Guérillères, in which a plural protagonist of militant feminists inhabit a fantastical, enigmatic and hallucinatory miasmatic space-time of post Hurricane Maria Puerto Rico.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
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.
A multi-media harp and spoken word tribute to the incalculable, the in-deducible, the suspicious static noise that accompanies the voice of truth, and the attempted aberrations in the domain of emergence.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
A celebration of the release of four books written by members of, and focused on about the House and Ballroom scene.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?