
FACT
Craig Dworkin
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
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.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
The site of the former Abbeyhill Station on the 1903 Leith branch of the Edinburgh and Dalkeith railway, overgrown and leading to as yet un-regenerated ‘wasteland’; taxi’s for 80 people, each instructed to take different routes between locations and; a slice of land concealed behind corporate business park branding off the Wester Approach Rd, apparently of no conceivable use and named ‘Chateaux de Scum’ by those who use it anyway.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
A performed installation by one of Germany’s most interesting visual artists, based on edited transcripts of the 1961 trial of Adolf Eichmann in Jerusalem and the writings of Hannah Arendt
Dundee. Progressive rhythmical guitar squall vs. post-highland discorporate dusk-jockey.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
A recording session for BBC Radio Scotland under the M74 ‘Ski Jump’ extension ramp, a secion of motorway that doesn’t go anywhere, one of several such structures that populate the motorway system in the centre of Glasgow.
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.