Smith/Stewart
Smith/Stewart
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
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.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
The second of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme highlights contemporary works.
There exist places in our towns and cities that are created not by design, but by circumstance. Shadowed Spaces was a tour of overlooked, bypassed and unconsidered nooks and crannies with 3 musicians.
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
One-shot sonic portraits of 4 houses, their inhabitants and their relationship to sound, from 2 of the most deep-thinking field-recording artists around.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
How black radical practices of abolition imagine a way out of the caging and mass killing of life.
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.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
Vanessa Place talks at The Friday Event series at the Glasgow School of Art about her practice as a writer.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.