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 speculative narrative film informed by poetry and theories of quantum entanglement across diasporic distance. An intimate exploration of grief and resistance in shifting landscapes of loss, from the streets to the bed.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.
Jandek’s first ever live performance. Unannounced, the performance was a total surprise for everybody at the festival.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
The Truth and Lies book project emerges as part of a rising tide of sex worker art and organised struggle to end criminalisation and stigmatisation of sex work.
Ian and Gil will host a discussion on the Argument project’s social and political commentaries, and with you try and maybe think through whether and how they might still have some currency today: what’s changed and what’s stayed the same?
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
