
Solo Performances
Leah Lakshmi Piepzna-Samarasinha
Come for the crip ingenuity; stay for the smooth feels of what it is to be each other’s everything.
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.
Come for the crip ingenuity; stay for the smooth feels of what it is to be each other’s everything.
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
With lo-fi dreams and high-def humor, Bande brings MC vibes to the day. Interluding music with spoken performance, the live extimacy of Bande’s presence reaches out via emo-techno-bridges.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?