Hit Parade
Christof Migone
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
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.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
If life is assaulted by power, where do we find spaces for living? A conversation with Peter Pál Pelbart.
On the birthday of Marsha P. Johnson, this event brings together several elements that celebrate the radical care and kinship characteristic of the Trans revolutionary.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
Has neoliberal capitalism locked down social experience? Are our seemingly subjective desires, our identities, pre-packaged by dominating social structures?