
I wanna be with you everywhere Solstice Gathering 2024
Summer Solstice hang out IRL and URL on 21 June
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.
Summer Solstice hang out IRL and URL on 21 June
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.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
A drone installation populated by flourescent strip lights working in complicity with analogue radios – “all the lights just do their thing”.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
Poems are kisses, fists, and underground rivers. For all these reasons and many more, I am a poet.
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?