Mutual Instruments
Fred Moten Miss Prissy
Can our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?
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 our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
An improvisation that may or may not involve (typical) improvisation.
Jandek performing at the Scottish Rite Theatre in Austin, Texas with Juan Garcia, Nick Hennies and Chris Cogburn.
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
“Beginning where you and me ends, where we don’t so much come but are already here.” Join James and Nisha to talk about breath, erotics and flesh, about our social, poetic cosubstantiality.
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
“Mackey composes realist-mythic layering of lyrical prose unlike anything being written today.” — New York Times. “Our greatest living epic poet…Mackey’s poetry and criticism have reinvented modernism for our time.”— LitHub
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.