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.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
A multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
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?).
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
Kenneth Goldsmith reads extracts of his conceptual poetry and Achim Wollscheid manipulates mobile phone signals.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
Light Music is a dizzying celebration of the pivotal nature of sound in film; a direct and powerful transcription of film as sound.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
