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.
Los Glissandinos work with clarinet and sine tones beating and thrumming in your middle ear, all beautifully paced and serene, but with just enough steely menace broiling under the surface to keep you on edge.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.
A meditation on how all of us perform — sometimes reinforcing, sometimes subverting — the shifting categories of gender, sexuality and race.
Three short performances involving social exchange (jumpers, hats, glasses…) and singing (ballads)
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
Reveling in the geometric, mathematical and perceptual relationship between sound and form, this programme features a landmark work of experimental film in Kubelka’s Arnulf Rainer; a complex, enduring and expressive of structuralist or flicker films.
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
