Infest – Polly Shang Kuan Band
Polly Shang Kuan Band
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
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.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
This session focuses in on the defiant mutual aid practices of early and DIY feminist movements in the UK, that attempted to shift and radicalise care and kinship away from the domain of the nuclear family.
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?
Take a break and/ or hang in an Open Meet Up in IRL and URL
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.
Ex-Decaer Pinga and CKDH rodeo queens; regular ladynoise hoedown gets gatecrashed by sonic chunder-huffing remedial clatter boys.
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
A recreation of one of Gustav Metzger’s celebrated auto destructive performances.
Can we find ideas of queer anarchism, failure and low theory in popular culture?
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
The Experimental Improvisers Association of Japan, [EXIAS-J] are a loose collective of musicians and dilettantes who seem to represent an entire and self sufficient scene in one band.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.