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.
Reveling in the geometric, mathematical and perceptual relationship between sound and form, this programme features a landmark work of experimental film in Kubelka’s Arnulf Rainer; a complex, enduring and expressive of structuralist or flicker films.
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
Every aspect of every film is always about more than just film. Or, as Godard said: a tracking shot is a moral issue. A cross between a festival, magazine and discussion about experimental artists’ films.
How black radical practices of abolition imagine a way out of the caging and mass killing of life.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
Free-jazz chat with Sabir Mateen, Daniel Cater, Andrew Barker – hosted by Byron Coley.
West Coast drone-age guitar grumbler/ consumer electronic reclaimer meets free-thinking clang/ chime/ drone bluesman of The East.
A trance inducing, flickering investigation of structural and minimalist droning from one of the key thinkers in sound and image over the last 50 years
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
