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.
A double bill of A (imageless) film of nothing but a sound recording and its transcription and a found film of news interviews about Malcolm X’s assasination, where the filmmaker decided to add nothing to it, except our attention.
A performed installation by one of Germany’s most interesting visual artists, based on edited transcripts of the 1961 trial of Adolf Eichmann in Jerusalem and the writings of Hannah Arendt
One of the most influential groups in improvised music, with the collective understanding that comes from listening keenly to each other for decades
Umeda is a Japanese artist who is as fascinated in setting up interesting situations to observe, as he is in creating performances.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Jarringly beautiful and often maniacal expression of hallucinatory and very personal visions.
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
Join activists, academics and artists as they reflect on abolitionist praxis and thought, exploring covergences with gender, poetry, technology, performance, speculation, aesthetics, film and culture. This series of events commemorates Black August and is for anyone who wishes to answer the abolitionist call to action and thought.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
