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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
Polly Shang Kuan Band coven leader and Sick Head’s psychedelic shaman Nackt Insecten make hex ritual to birth a new astral being….. Smack Insecten.
Greek TV company Onos Productions came to INSTAL 09 to document the festival and report on Nikos Veliotis’ Cello Powder performance.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
A performance, a radio show, an installation, an endurance test. A game of chance. Constantly broadcasting live, actor Tam Dean Burn will leave Tramway at the start of INSTAL and walk away from it, in an ever increasing spiral, for a day. Then he’ll walk back.
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
Percussion used to explore the social construction of space
“The miracle of Herman Melville is this: that a hundred years ago in Moby Dick…he painted a picture of the world in which we live, which is to this day unsurpassed.” – C. L. R. James
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
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?
