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.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
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.
Four intimate 45 minute sessions, readings of your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
Ellis’s processional, precessional cessation and continuation of movement and music comes to us via his forthcoming release Aster of Ceremonies (Milkweed Editions, 2023)
A three-day celebration surveying all manner of diverse musical activities, which at their core share a basic kinship: one of exploration and the discovery of musical expresssion.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
Beatriz will explore her thinking, on film as translation, plural subjectivity or land-based militancy. Discussion will centre around her work Oriana and its companion piece Oenanthe, which will be screened in full.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Our Zooms are unmuted, our mics are open, and our hearts and bodyminds are receptive. We give the floor online and in person to you…
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Juliana’s performances chart the dissonant space and discrepancy between the presumed fixed norms of social life and the fluid lived experience those norms don’t allow for.
