Where Good Souls Fear
Alice Sheppard
An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
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An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.
This session focuses in on the defiant mutual aid practices of early and DIY feminist movements in the UK, that attempted to shift and radicalise care and kinship away from the domain of the nuclear family.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
Performances at Anthology Film Archives by by Loren Mazzacane Connors, Alan Licht & Jandek.