The We of revolutionary love
Houria Bouteldja
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
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.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
A kind of an informal overview of INSTAL.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
A drone installation populated by flourescent strip lights working in complicity with analogue radios – “all the lights just do their thing”.
Complex ways of understanding our complex times. Maths & Poetics. Gesture & Physics. Collectivist Struggle & Desire. 5 days of performances, discussions, screenings and study sessions.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.