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 glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Can we find ideas of queer anarchism, failure and low theory in popular culture?
Acting at the minimum. Each film here substitutes one small thing for another, (ironically) transforming received meanings by the simplest of actions; often kind of funny too.
(Cyber)feminist, non-essentialist transgender and queer daily radio shows using the formula of morning radio as an arch way of thinking about the scripted behaviour and controlled empathy of systematic care.
INSTAL’s third outing saw performances by AMM, Cosmos (Sachiko M & Ami Yoshida), Voreboms, Vibracathedral Orchestra with Matthew Bower and John Godbert, Paragon Ensemble, Merzbow and Ryoji Ikeda.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
Jarringly beautiful and often maniacal expression of hallucinatory and very personal visions.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
