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 programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
Deliberately blurred drones, absent of definite structure or rhythm, framed in silence and devoid of any distraction from the pure matter of sound.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
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.
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.
A cinema of the mind, a film to take place in the viewers’ imagination(s).
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.
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.
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
