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.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
Gravitational Feel is an engine for intensifying the differentiation of our entanglement, which you continually reprogramme in the mutual rub, shift and lap of its sonic, wooden, steel, textile and human material.
Laser beam sine tones used to draw delicate, abstract patterns by vibrating charcoal, placed atop of a great strip of paper running through the gallery; beautiful, fragile sound-created autonomous drawing.
Opening with one of the most memorable shots ever filmed, and screened a year after the initial successes of the 2011 Egyptian revolution, Too Soon, Too Late is a search for the traces left on the landscape of past revolutions in France and Egypt.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
Writing that shows us that, even in struggle, there is light to be let in.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
Glasgow based contemporary music group Paragon Ensemble performing an improvisation with Pete Dowling, Nick Fells, Robert Irvine and others.
A socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
Perhaps the paradigm of America’s covert musical subculture, Sun City Girls operate just over the border of raucous delirium.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
