
Free-form hook up
Aileen Campbell Dylan Nyoukis Phil Minton
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
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.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
A tour with John Butcher and Akio Suzuki that set out to allow the audience to experience (and to listen to) the enviroment around them in different way.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?