Speculum Orum
M Lamar
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
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.
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
A performance by Storyboard P – one of the greatest Afrofuturist dancers on the planet.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
Light Music is a dizzying celebration of the pivotal nature of sound in film; a direct and powerful transcription of film as sound.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
A joyful conversation discussing disability, gender transition and care labour as expressions of virtuosic and innovative skills that make care – good care – possible.
A recording session for BBC Radio Scotland under the M74 ‘Ski Jump’ extension ramp, a secion of motorway that doesn’t go anywhere, one of several such structures that populate the motorway system in the centre of Glasgow.
Work that focuses in on the static hiss and background noise of recording and pushes it to the fore.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?