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.
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
A conversation about the movement for prison abolition and refusing the logic of race and sex that underpins the criminalisation and mass incarceration of communities.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
An open-ended moment in an ongoing series of films, notes, performances, diagrams and drawings which trace the questions they share. A “porous space between cinema time-space and lived time-space.”
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
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.
Duo performance by two great French musique concrète improvisers using feedback, contact mics, tape, an old Revox tape machine, a vintage synth…
Includes: a classic of innovative computer graphics, ex-pat Scot McLaren on form, a riotous psychedelic oil show with a Soft Machine accompaniment, subtle manipulation of data feedback, a colourful road movie and a reworking of a lost Paul Sharits film.
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
