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.
Craig will give a guided reading of his handbook of exemplary instances of literary listening and will be joined by one of the selected authors, Vanessa Place.
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
A Performance exploring the nature of acousmatic listening; sound removed from visual context and understood for it’s own properties.
The Echo project is an installation as audio guide for a crowd. And at the same time it’s a private conversation: with you, as one of 20 people in a room, a sort of public intimacy.
Three panels offering opportunities to discuss how to build stronger alliances between the sex workers’ rights, migrants rights and reproductive justice movements and how to face, together, an increasingly punitive and reactionary system.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
