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.
Ex Ganger guitarist’s solo performance for guitar and fx, featuring breathless processed guitar, complex in structure and melody.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Acting at the minimum. Each film here substitutes one small thing for another, (ironically) transforming received meanings by the simplest of actions; often kind of funny too.
Kylie Minoise Vs Nackt Insecten feedback/ vocal physical threat ‘vs’ ecstatic electronic cloudbursts
An open-ended moment in an ongoing series of films, notes, performances, diagrams and drawings which trace the questions they share. A “porous space between cinema time-space and lived time-space.”
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
This closing session will be a space for reflection and feedback. We can discuss ways we can share what we’ve learned and explored with our wider communities. We can talk about if we want to do more sessions and /or projects together.
A dismantled, performed film, where a narrator pieces together the sounds, images and storytelling of a documentary about Hurricane Katrina before a live audience.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
