Screening Programme
Jacolby Satterwhite Paul Kindersley Samuel R. Delany Tiona McClodden
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
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.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
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.
We wanted to ask a bunch of the best high-energy-improvisers around; can musical form really taking shape via a group energy? Can individual concentration lead to a group consciousness?
Open community meeting to discuss some of the prevalent concerns impacting the ballroom community.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
A performance by Storyboard P – one of the greatest Afrofuturist dancers on the planet.
A multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
Simple maths and stringent scored instructions move precise frequencies and clicks to create a dense, fluctuating environment of standing waves and physical sound.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
A conversation between Philip and Moten: how do we read NourbeSe’s anti-narrative poetic lament in Glasgow today, given the city’s role in the history of slavery?