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.
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
A Performance exploring the nature of acousmatic listening; sound removed from visual context and understood for it’s own properties.
A conversation about the movement for prison abolition and refusing the logic of race and sex that underpins the criminalisation and mass incarceration of communities.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
Ian and Gil will host a discussion on the Argument project’s social and political commentaries, and with you try and maybe think through whether and how they might still have some currency today: what’s changed and what’s stayed the same?
Akio Suzuki and John Butcher performing in a large multi chambered industrial ice house.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
For this day-long festival, sex workers and their allies from New York, the tri-state area, and Europe will gather at MoMA PS1 to debate, perform, dance, strategize & share knowledge.
A performance, a radio show, an installation, an endurance test. A game of chance. Constantly broadcasting live, actor Tam Dean Burn will leave Tramway at the start of INSTAL and walk away from it, in an ever increasing spiral, for a day. Then he’ll walk back.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
