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.
Live in person at Performance Space New York and live-streamed everywhere! Watching Storyboard P dance feels like glimpsing into another world.
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.”
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
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).
Andrew Chalk & Christoph Heemann return with their diaphanous, impressionistic drone duo; their slowly evolving and enthralling works flutter and quiver with elegantly restrained, miniature sound events.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
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?
