Daniel Carter & William Parker
Daniel Carter William Parker
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
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.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
A speculative narrative film informed by poetry and theories of quantum entanglement across diasporic distance. An intimate exploration of grief and resistance in shifting landscapes of loss, from the streets to the bed.
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground music.
Vajra are a Japanese psychedelic rock supergroup, hewn from the collective consciousness of Fushitsusha’s Keiji Haino, folk radical Kan Mikami and percussionist Toshiaki Ishitsuka.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
Droner responsible for Fordell Research Unit, Muscletusk’s murk manipulator and Metzian concrete-mixer cement international relations and yr heids.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
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.