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.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
A cinema of the mind, a film to take place in the viewers’ imagination(s).
The session – aimed specifically at white people – will be run by Tripod. We will explore and address whiteness, embodied responses to racial tension and somatic techniques to build resilience for practicing anti-racist action. It will be a space to learn and transform together and look at further anti-racist resources and work.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
A collaborative performance where sound and image are created, performed and mediated by light, water and glass.
A movement-based workshop on Krump and the politics of how we teach, learn and listen with our bodies. Move with us!
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
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?
