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.
Black Boned Angel’s is a rock sound, stripped of all extraneous detail right down to its core, stretched out and nailed to the ceiling.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
Two bottomless brunch writing workshops—with readings—speculating the relationship between space, infrastructure, technologies and sex.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
One of the most incessantly experimental musicians in the UK, Youngs’ aesthetic is entirely unique, never really part of any scene [whilst influencing many], steadfastly unafraid and honest
A freestyle performed conversation for bodies and voices – with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.
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 concrete walkway ending in mid air, a ridiculously tight squeeze between three office buildings and various other sites of Labour politician and council leader T. Dan Smith’s modernist regeneration projects and ‘slum clearances’ of the 1950’s and 60’s.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
