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.
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Life and death dramas unfold in the snowy American North, using three-screen documentary footage and a soundtrack by KYTN favourite, vocalist Daniel Menche.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
Droner responsible for Fordell Research Unit, Muscletusk’s murk manipulator and Metzian concrete-mixer cement international relations and yr heids.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
A life force of ecstatic clarity capable of loquacious bursts of affirmation.
