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.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
Laser beam sine tones used to draw delicate, abstract patterns by vibrating charcoal, placed atop of a great strip of paper running through the gallery; beautiful, fragile sound-created autonomous drawing.
Shutter Interface is an expanded cinema piece: a series of machinegun bursts of chromatic relationships and visual harmonics in an overwhelming montage
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
Morgan Fisher is a filmmaker of great wit and charm who uses the tools of experimental film to dissect the basic presuppositions of commercial cinema.
A workshop for educators, activists and young people to think about radical, anti-imperialist pedagogy, and what fighting for the Palestinian cause looks like for young people in the imperial core. PDF of the resource available soon.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
