Formula [ver 1.1]
Ryoji Ikeda
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
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.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
A performance by Storyboard P – one of the greatest Afrofuturist dancers on the planet.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
Organised by Twiggy Pucci Garcon and Pony Zion, The Masters Ball focuses on the work of 50 individuals designated within the scene as ‘masters’ in their respective performance categories, which include Vogue, Runway, and Face.
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 rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
The first of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme focuses on the forebearers of filmic and musical innovation over the last 70 years.
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
Kenneth Goldsmith reads extracts of his conceptual poetry and Achim Wollscheid manipulates mobile phone signals.
A voice that can vault from an elegantly whispered insinuation to asphyxiated and murderous barks or squalls in a heartbeat.
Austrian guitarist who specialises in a warm digital deconstruction of guitar noise
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?