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.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
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.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
Percussion used to explore the social construction of space
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
A recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
An evening of live performances, readings & saucy rococo cakes celebrating the launch of Truth and Lies – An Anthology of Writing and Art by Sex Workers.
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
