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.
How do we gesture to the invisible, the trans or the obscure? A performative conversation between boychild and Fernando, a sharing of gestures, and a bodily back and forth between mathematician and dance artist.
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
Real-time video feedback loops submerged in laminal sheets of sound soaked in gauzy timbral detail and multi-valenced, buzzing overtones.
Performances at St Giles in the Fields, London by Jandek, Rhodri Davies & Angharad Davies, Rauhan Orkesteri.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
A preposterously heavy, eye of the storm musical tug of war, in which two drummers, electronics and electric guitar fall over each other in a droning crush.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
The Truth and Lies book project emerges as part of a rising tide of sex worker art and organised struggle to end criminalisation and stigmatisation of sex work.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
