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.
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.
The first of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme focuses on the forebearers of filmic and musical innovation over the last 70 years.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
A workshop for educators, activists and young people to think about radical, anti-imperialist pedagogy, and what fighting for the Palestinian cause looks like for young people in the imperial core. PDF of the resource available soon.
Setting up a minimal procedure to explore the interaction between a person and the (documentary) film/ video process. What initially seems simple ends up contrarily distanced and intimate, public and private.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
A historical narrative of the black and Latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to race, gender, sexuality and class oppressions.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
