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.
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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
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.
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
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 chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
‘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.
