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.
Real-time video feedback loops submerged in laminal sheets of sound soaked in gauzy timbral detail and multi-valenced, buzzing overtones.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
Inspired by Delany’s Aye, and Gomorra. A spookily filmic world where asexual bodies live in the contradiction of their unarousable loneliness and desire for intimacy and contact.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
Radu plays a trombone, Klaus creates pure sine waves: they sound on their own, or sometimes together and often with considerable space and silence.
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
A series of reality dramas happening over the course of the weekend.
Organised by Twiggy Pucci Garcon and Pony Zion, The Masters Ball focuses on the work of 50 individuals designated within the scene as ‘masters’ in their respective performance categories, which include Vogue, Runway, and Face.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
