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.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
Location: between: the abandoned site of Parker House (ex-council office building) that became a student accommodation regeneration project, off the Dudhope roundabout; Bell Street Car Park entrance ramp and; the awkward (and otherwise used/ used otherwise) space left over between the back of Tesco’s and DW Sports on the Murraygate.
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Why won’t the idea of the particle or individual go away? Is the measurement problem in physics a documentary film issue? What can a human be without its crutches of life-time and measure?
Criminal Queers visualises a radical trans/queer struggle against the prison industrial complex, working to abolish the multiple ways our hearts, genders, and desires are confined.
Each organ is unique. The project is to find out what makes it unique.
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?
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
