Festival Launch
Christof Migone Jarrod Fowler
Jarrod Fowler and Christof Migone kick things off with performances involving edible plants, a saw, dandruff, and Christof responding to the prompt: “as far as you can for as long as you can.”
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.
Jarrod Fowler and Christof Migone kick things off with performances involving edible plants, a saw, dandruff, and Christof responding to the prompt: “as far as you can for as long as you can.”
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
Guitar and voice. Keening, droning and mourning. Be ready to release and bring your dis-ease.
Poetry of raw fearless truth and the realest crip insight fully embedded in absolute lyrical lounge.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.
A silent performance of (musical) reverberation.
Expansive and considered, inclusive and deeply human minimalism: Antoine Beuger, Radu Malfatti, Manfred Werder.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?