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.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
Reading their letters to each other, and chatting about prefigurative politics as the practice of relentlessly building worlds through unspeakable violence and loss; of building worlds and living in them anyway.
