The Golden Mean
Charlemagne Palestine
An extravagant debauch of huge pianos, plush toys, cognac and ritual.
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.
An extravagant debauch of huge pianos, plush toys, cognac and ritual.
What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?
A celebration of risk taking and adventure from some of the boldest pioneers of the past 40 years, melding avant garde and underground forms of music and moving image to create new experiments and experiences in sight and sound.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
If life is assaulted by power, where do we find spaces for living? A conversation with Peter Pál Pelbart.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
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.
Improvising violinist Angharad Davies performing with pianists Tisha Mukarji and Andrea Neumann.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
Sadia Shirazi & Mezna Qato will discuss a series of scores that explore the texture and landscape of exile, resistance, and Muslim sociality. These instructional scores trouble the idea that art and activism are untouched by faith and faith is untouched by art and activism.
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?