
Whitehouse
Whitehouse
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
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.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
Paul Sharits one of the great experimental, sometimes called structuralist / materialist, filmmakers of the 20th Century.
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.
Ex-Decaer Pinga and CKDH rodeo queens; regular ladynoise hoedown gets gatecrashed by sonic chunder-huffing remedial clatter boys.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
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.
There exist places in our towns and cities that are created not by design, but by circumstance. Shadowed Spaces was a tour of overlooked, bypassed and unconsidered nooks and crannies with 3 musicians.
An audio/ video, lecture/ performance exploring the queer and companionly inter-activity of human-animal relations.
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
An audio report for the NATOarts board of directors that seeks to promote global security and stability through the exhibition of works of conceptual art.
Perhaps the paradigm of America’s covert musical subculture, Sun City Girls operate just over the border of raucous delirium.
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?