 
Diamanda Galás
Diamanda Galás
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.
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.
 
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 chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
 
Reading their letters to each other, and chatting about prefigurative politics as the practice of relentlessly building worlds through unspeakable violence and loss; of building worlds and living in them anyway.
 
Profound mathematical ideas for romantics, to help us linger in the difference we share.
 
A life force of ecstatic clarity capable of loquacious bursts of affirmation.
 
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
 
A multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
 
A simple hands on workshop with micro-radio theorist and pioneer Kogawa.
 
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
 
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
 
Paper Piece: Secrets is a performance for and with the whole audience, using paper, text, secrets, being in the crowd
 
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?