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.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
For day two of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by the Vogue’ology collective.
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
