
Suspended closure, suspended
Jimmy Robert
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
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.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
Ex-Decaer Pinga and CKDH rodeo queens; regular ladynoise hoedown gets gatecrashed by sonic chunder-huffing remedial clatter boys.
A panel exploring the poetics of abolition. “Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change.”
Joan La Barbara presents works exploring the colour spectrum of a single pitch resonating in her skull, an evocation of bird song and circular singing.
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Each organ is unique. The project is to find out what makes it unique.
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
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.