
Vorticity in the Eternal Hum
Alexander Moll Jackie Wang
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
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’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Cask-strength electrohypnol/ shroom damaged folk croonings by Lapsed Electronics empire builder responsible for recent Tremors blowouts.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
A short chat about what we (Arika) might be trying to do with our program for the Biennial.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
Jarrod Fowler and Christof Migone kick things off with performances involving edible plants, a saw, dandruff, and Christof responding to the prompt: “as far as you can for as long as you can.”
How black radical practices of abolition imagine a way out of the caging and mass killing of life.
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
Underlying radical transfeminism, as an urgent critique of binary essentialism and fixed identities, is the call for a new kind of thinking that can move between and integrate the truths of all lives in their transformations.