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.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
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.
Real-time video feedback loops submerged in laminal sheets of sound soaked in gauzy timbral detail and multi-valenced, buzzing overtones.
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
Coming to us from Taipei, Yo-Yo sends us elsewhere while bringing us back with her to the timezone of tomorrow. A dancer, media artist, and choreographer who makes multi-dimensions and realms, Lin’s amplification of energies and connections across bodies devolves the separations we are taught to abide.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
Jandek performing at the Scottish Rite Theatre in Austin, Texas with Juan Garcia, Nick Hennies and Chris Cogburn.
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
