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.
An informal conversation, over breakfast, about how abolition and movement work structures Mijke and Nat’s approach to transfeminism, ahead of their new book Trans Femme Futures.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
What is happening when systems of repression try to grasp communities’ ways of being, living or surviving, applying laws of sexuality, gender or race to cast them as criminal?
Ken Jacobs chats to Edwin Carels: Edwin is a curator based in Ghent, responsible for some fantastic programmes of experimental film and art at the Rotterdam Film festival (amongst others).
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
Chip will read some of his great literary pornography, which pushes sexuality to the point of extremity and exhaustion.
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
Andrew Chalk & Christoph Heemann return with their diaphanous, impressionistic drone duo; their slowly evolving and enthralling works flutter and quiver with elegantly restrained, miniature sound events.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
