
Mutual Aid
4 days of workshops, discussions and artists presentations exploring the radical act of caring for each other while working to change the world.
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.
4 days of workshops, discussions and artists presentations exploring the radical act of caring for each other while working to change the world.
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
Solo organ performance by German composer Eva-Maria Houben, which focuses on ‘nearly nothing’ to expand the way we listen.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
In this welcoming first session we will look at the basics of using plant medicine – things you might have in your kitchen or easily to hand. We will introduce preparation methods, contraindications, dosages & remedies for common ailments.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
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?