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.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
Coming to us from Taipei, Yo-Yo sends us elsewhere while bringing us back with her to the timezone of tomorrow. A dancer, media artist, and choreographer who makes multi-dimensions and realms, Lin’s amplification of energies and connections across bodies devolves the separations we are taught to abide.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Looking at and listening to different ideas about sound and music, INSTAL 09’s collection of artists included Tetsuo Kogawa, vocalist Joan La Barbara, Phil Minton (and his Century FC feral choir), Austrian Actionist Hermann Nitsch, Steve McCaffery and many more.
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
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.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
