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.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Four intimate 45 minute sessions, readings of your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
Chip’s written some of the greatest of all Sci-Fi and Fantasy—page turning character driven diamond-hard novels and short stories: each a lens that refracts our real-life struggles and desires.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
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.”
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
A series of badly felted lock-ups and garages + multiple locations within the Megastructure – a purpose built town centre in one building, comprising (in the 50’s at least) of housing (never occupied), shops, apartments, a hotel, ice rink, police station and other amenities
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
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?
