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.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
Jarrod Fowler creates a social space where layered one-to-one live encounters with the audience become sonic material.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
The first of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme focuses on the forebearers of filmic and musical innovation over the last 70 years.
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
