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.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
An audio report for the NATOarts board of directors that seeks to promote global security and stability through the exhibition of works of conceptual art.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
Dave will lead a session created for teenagers and designed to stimulate a supportive environment for artistic exploration through music improvisation.
A temporary archive and research space tracing the ways in which sound and audition move through everyday life.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
Join Brian as he ruminates on the history of how experimental filmmakers and sound artists have drifted into and taken over galleries in order to show their work.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Live in person at Performance Space New York and live-streamed everywhere! Watching Storyboard P dance feels like glimpsing into another world.
Jarrod Fowler and Christof Migone kick things off with performances involving edible plants, a saw, dandruff, and Christof responding to the prompt: “as far as you can for as long as you can.”
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
