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.
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
Free Jazz group comprising Matt Lavelle, Matt Heyner (TEST, No-Neck Blues Band) and Ryan Sawyer (Tall Firs).
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 double bill of A (imageless) film of nothing but a sound recording and its transcription and a found film of news interviews about Malcolm X’s assasination, where the filmmaker decided to add nothing to it, except our attention.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
A life force of ecstatic clarity capable of loquacious bursts of affirmation.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
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.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
