It’s Sorta Like a Big Hug
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?
60 minutes of hard ass minimal film, projected onto a weather balloon and accompanied by the inspired poetic rant of a visionary Frenchman.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
Join Umbrella Lane and special guest migrant trans sex workers in a community discussion about the points of intersection in LGBT people’s rights and sex worker’s rights.
A public walk from George Square to the Barras market bringing contributions from researchers, activists and artists in a form of live critical praxis
An improvisation that may or may not involve (typical) improvisation.
Dir. Nicolas Philibert
Documentary of La Borde clinic in France and its radical politics of experimentation, in which residents and staff reciprocate in a kind of entanglement, an opening up amongst themselves.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
Performances at Anthology Film Archives by by Loren Mazzacane Connors, Alan Licht & Jandek.
Durational group-mind drone and clatter: bamboo, electronics, the contents of your local ironmongers bin. A 3-hour set from this legendary Japanese improvisation group.
A delicate and detailed walk through the urban and rural landscape around Dundee; a poetic focus on the details found. A performance for 16mm projection and live amplified objects (maybe pine cones, maybe a coke bottle).
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.