
Charles Curtis & Raha Raissnia
Charles Curtis Raha Raissnia
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
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.
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
A short chat about what we (Arika) might be trying to do with our program for the Biennial.
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.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
Jarrod Fowler creates a social space where layered one-to-one live encounters with the audience become sonic material.
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
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?