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.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Has neoliberal capitalism locked down social experience? Are our seemingly subjective desires, our identities, pre-packaged by dominating social structures?
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
In this response to the Self Cancellation project, Lee Patterson dissolves medicine in glasses of water and explores the sonic content.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
Adamantly analogue, inspiring and frequently chaotic in performance, Metamkine draw no distinction between image and sound; during their intuitively improvised performances music and images are created simultaneously and equitably.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
