The We of revolutionary love
Houria Bouteldja
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
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.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
Sadia Shirazi & Mezna Qato will discuss a series of scores that explore the texture and landscape of exile, resistance, and Muslim sociality. These instructional scores trouble the idea that art and activism are untouched by faith and faith is untouched by art and activism.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
A historical narrative of the black and latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to its artistic practices.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.