
It’s Sorta Like a Big Hug
Constantina Zavitsanos Park McArthur
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
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.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
An audio and video investigation of gender cults, Catholicism, hauntings and nuns’ use of audio devices…
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
A public gathering that brings together local artists, musicians, activists, and community organisers.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
No Wave, damaged garage jams and crazed instant vocal shrieks.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?