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.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
Freeform Super 8mm documentation of Friday at Instal 06 by filmmaker Matt Hulse.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
This trans-exclusive workshop, co-facilitated by River McAskill, River Molloy and Zinzi Buchanan, offers body-focused exercises and creative practices for a trans-exclusive space, situated within the present local and global climate. We will bring an array of offerings related to the question: how can we take care of ourselves and one another, when we can’t trust state systems to take care of us? Come as you are and bring anything that adds to your comfort.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
