Gesturing to What is Possible: Drugs Users Supporting Each Other
Peter Krykant Aura Roig Juan Fernández Ochoa
Rather than asking the state for services, what kinds of change are made possible when we prioritise people supporting each other?
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.
Rather than asking the state for services, what kinds of change are made possible when we prioritise people supporting each other?
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
60 minutes of hard ass minimal film, projected onto a weather balloon and accompanied by the inspired poetic rant of a visionary Frenchman.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
Radu plays a trombone, Klaus creates pure sine waves: they sound on their own, or sometimes together and often with considerable space and silence.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
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.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?