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 slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
West Coast drone-age guitar grumbler/ consumer electronic reclaimer meets free-thinking clang/ chime/ drone bluesman of The East.
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
Performances at Anthology Film Archives NY by Jandek, Loren Mazzacane Connors & Alan Licht, and MV & EE.
