
Ode to 1 & under
Constantina Zavitsanos Park McArthur
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
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.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Dir: Maurizio Lazzarato & Angela Melitopoulos
A filmic constellation exploring Felix Guattari’s anti-patriarchal, anti-colonialist, anti-psychiatric, animist ideas of care and the self. And an Introduction to the Episode.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
A simple hands on workshop with micro-radio theorist and pioneer Kogawa.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery