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.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
Solo organ performance by German composer Eva-Maria Houben, which focuses on ‘nearly nothing’ to expand the way we listen.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Profound mathematical ideas for romantics, to help us linger in the difference we share.
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
Reading their letters to each other, and chatting about prefigurative politics as the practice of relentlessly building worlds through unspeakable violence and loss; of building worlds and living in them anyway.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
