Meditations in a Chronic Emergency
Amelia Bande
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.
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.
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.
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
Offering a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves. Expect fire and a little bit of smoke. Concluding with a D/deaf centered social space with conversational interpreters available for those who do not speak ASL.
A Study Session focused on the thinking of Ailton Krenak – one of the great leaders of the Brazilian indigenous movement – led by curators and artists Amilcar Packer Arissana Pataxó.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
A collaboration bringing together artists with a shared gravitational heft to their work; an intense and concentrated accumulation of detail and power.
In rethinking the body, the law, the state, gender, race, violence, care and empathy, how we might give humanness a different future?
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?