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.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Every aspect of every film is always about more than just film. Or, as Godard said: a tracking shot is a moral issue. A cross between a festival, magazine and discussion about experimental artists’ films.
This mini, late-night ball will include categories inspired by the events earlier in the weekend.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
Akio Suzuki and John Butcher performing in an abandoned oil tanker on Hoy.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
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.
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
