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.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
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.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
Greek TV company Onos Productions came to INSTAL 09 to document the festival and report on Nikos Veliotis’ Cello Powder performance.
A live installation of the ‘Film Ist’: projected on 4 huge screens and an improvised soundtrack from 4 figureheads of the Austrian experimental music scene.
If life is assaulted by power, where do we find spaces for living? A conversation with Peter Pál Pelbart.
4 days of workshops, discussions and artists presentations exploring the radical act of caring for each other while working to change the world.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
