Whitehouse
Whitehouse
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
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.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
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?
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
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.
The role of feelings in public life, (political) depression and creative survival.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
Paul Sharits one of the great experimental, sometimes called structuralist / materialist, filmmakers of the 20th Century.
Part old-fashioned Renaissance man, part hardcore avant-gardist, the Canadian painter-photographer-filmmaker-musician gives full vent to his genius in the exhilarating perceptual vaudeville, named after the ‘central region’ of tissue that acts as a conduit between the brain’s two hemispheres.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.