
B-52
Hartmut Bitomsky
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
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Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
4 days of workshops, discussions and artists presentations exploring the radical act of caring for each other while working to change the world.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Percussion used to explore the social construction of space
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
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Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Vanessa Place talks at The Friday Event series at the Glasgow School of Art about her practice as a writer.
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.
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?