 
Directing Hand
Directing Hand
A life force of ecstatic clarity capable of loquacious bursts of affirmation.
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 life force of ecstatic clarity capable of loquacious bursts of affirmation.
 
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
 
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
 
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
 
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
 
Rather than asking the state for services, what kinds of change are made possible when we prioritise people supporting each other?
 
A film installation as both allegory and investigation of The Rockridge Institute and their research into ‘framing’ and the use of metaphor within political discourse.
 
Jarringly beautiful and often maniacal expression of hallucinatory and very personal visions.
 
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.
 
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
 
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?