
Haxan: Witchcraft Through the Ages
Mirror Phantom Engineer
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
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.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
A collaboration bringing together artists with a shared gravitational heft to their work; an intense and concentrated accumulation of detail and power.
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
This closing session will be a space for reflection and feedback. We can discuss ways we can share what we’ve learned and explored with our wider communities. We can talk about if we want to do more sessions and /or projects together.
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.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
Amid the blur of erotics, the jangle of poetics, and the fetishizing of sickness and disability, the heat of Panteha’s performance and sculpture freezes all.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.