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.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Kanta is a young Japanese artist with a home-made, short circuited take on electronics and physical phenomena which he uses in performance to produce close circuit systems of audio / video feedback.
A conversation between influential figures thinking through Blackness and Indigeneity, asking: what if we took seriously the possibility that this world, as we know it, may be coming to an end? We dread the loss of this world, but have we begun to imagine the one to come?
Now a two day festival, INSTAL 04 was borne of a desire to open eyes, challenge audiences and expand musical horizons. This was also the year in which a certain representative from Corwood Industries made his first ever live appearance.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
Kylie Minoise Vs Nackt Insecten feedback/ vocal physical threat ‘vs’ ecstatic electronic cloudbursts
Quintessentially British, The Bohman Brothers’ music is a home-made and DIY conflux of some of the most virulent strains of experimental music.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
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?
