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.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
Reveling in the geometric, mathematical and perceptual relationship between sound and form, this programme features a landmark work of experimental film in Kubelka’s Arnulf Rainer; a complex, enduring and expressive of structuralist or flicker films.
A historical narrative of the black and latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to its artistic practices.
Freeform Super 8mm documentation of Friday at Instal 06 by filmmaker Matt Hulse.
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.
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.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
These simple, one-take videos, relate personal experiences to the current conflicts in the Middle East via the most basic of means (a hotel room, a camcorder, John’s personal thoughts, concerns and convictions).
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
