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.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
An original and beautifully simple performed installation forging a direct link between sound and image.
We’ll look at the language and politics of what gets ‘mental health’ and consider more holistic understandings of experiences that honour the connection between mind/body/soul, and that acknowledge social and political context.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
Open community meeting to discuss some of the prevalent concerns impacting the ballroom community.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
A cinema of the mind, a film to take place in the viewers’ imagination(s).
During Episode 9 we made this clip with Storyboard P at Kinning Park Complex. Video by Ash Reid.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
