No Church in the Wild
Jack Halberstam
Can we find ideas of queer anarchism, failure and low theory in popular culture?
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.
Can we find ideas of queer anarchism, failure and low theory in popular culture?
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
Is it possible to dance our way out of the hardened stances and identity prisons we are locked in?
A sound diffusion piece by Glasgow University’s Musica Electronica, and a further selection of electroacoustic performances.
Avant-wrongdoers Blood Stereo performing in Garthamlock the town spawned them.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
Strickland Distribution and Ultra-red give a practical sound workshop bringing together walk participants to discuss the issues raised during the walk
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.
Edinburgh. Beer and smoke befuddled drone/ deadly efforts by Pjorn72 kingpin.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”