 
LEVOX
eriKm Etienne Caire Gaëlle Rouard
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
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.
 
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
 
A dense, hard, immersive, chaotic spatial performance in sound: a momentary gap in consciousness, free of order or decision.
 
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
 
Adamantly analogue, inspiring and frequently chaotic in performance, Metamkine draw no distinction between image and sound; during their intuitively improvised performances music and images are created simultaneously and equitably.
 
Beat poet Ira Cohen’s now infamous and wildly psychedelic film odyssey feeds one’s own seeing apparatus through beautifully warped and distorting mylar mirrors, resulting in a film dense and rich with visual arcana and poetry.
 
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
 
Morgan Fisher is a filmmaker of great wit and charm who uses the tools of experimental film to dissect the basic presuppositions of commercial cinema.
 
A poetic multi-screen performance about “the inadequacy of the arbitrary passing moment and the impossibility of permanence”. About time and change.
 
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
 
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
 
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
 
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.