
Speculum Orum
M Lamar
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
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.
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
A film installation as both allegory and investigation of The Rockridge Institute and their research into ‘framing’ and the use of metaphor within political discourse.
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
We wanted to ask a bunch of the best high-energy-improvisers around; can musical form really taking shape via a group energy? Can individual concentration lead to a group consciousness?
Paper Piece: Secrets is a performance for and with the whole audience, using paper, text, secrets, being in the crowd
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
In 2008 we toured our Kill Your Timid Notion festival of experimental sound and image to London, Bristol and Glasgow, bringing audiences a taste of the previous 5 festival editions.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?