
Two Dots over a Vowel
Christian Bök
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
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.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
Three iconic figures from the Japanese underground assembled as a trio to stand in for the advertised duo of Junko and Jerome Noetinger who was unable to attend the festival due to illness.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
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”.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
Edinburgh. Nigh-inaudible improv jams with disabled instruments from the makers of Giant Tank and Pizza Boy Delivery.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.