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.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
For this day-long festival, sex workers and their allies from New York, the tri-state area, and Europe will gather at MoMA PS1 to debate, perform, dance, strategize & share knowledge.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
A 2-day workshop to deconstruct our classed experiences and the ways in which we reproduce the same class system we fight against, in order to create a stronger, more egalitarian Scottish art sector.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
A sound of buzzing and flickering metallic drones, glottal stops and guttural growls, and also an explosiveness and purity of sound that reminds you as much of Bill Dixon as anyone else.
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
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.
