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.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary listening.
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
Criminal Queers visualises a radical trans/queer struggle against the prison industrial complex, working to abolish the multiple ways our hearts, genders, and desires are confined.
Conceptual writer and practicing lawyer Vanessa Place performs and talks with Mark Sanders, author of the brilliant “Complicities: The Intellectual and Apartheid”
These simple, one-take videos, relate personal experiences to the current conflicts in the Middle East via the most basic of means (a hotel room, a camcorder, John’s personal thoughts, concerns and convictions).
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
A system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses-slow, molten and incredibly tactile flickers of colour and light.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
