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.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
“Beginning where you and me ends, where we don’t so much come but are already here.” Join James and Nisha to talk about breath, erotics and flesh, about our social, poetic cosubstantiality.
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.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
Setting up a minimal procedure to explore the interaction between a person and the (documentary) film/ video process. What initially seems simple ends up contrarily distanced and intimate, public and private.
We’ll look at the language and politics of what gets ‘mental health’ and consider more holistic understandings of experiences that honour the connection between mind/body/soul, and that acknowledge social and political context.
Kanta is a young Japanese artist with a home-made, short circuited take on electronics and physical phenomena which he uses in performance to produce close circuit systems of audio / video feedback.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
