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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
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 performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
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?
Take a break and/ or hang in an Open Meet Up in IRL and URL
