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.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
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.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
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.
As opposed to suggesting soundtrack’s to Brakhage’s works [which are almost entirely silent] Text of Light use his works to stimulate improvisation, enveloping them into the structure of the group much like an additional musician.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
