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.
Beat poet Ira Cohen’s now infamous and wildly psychedelic film odyssey feeds one’s own seeing apparatus through beautifully warped and distorting mylar mirrors, resulting in a film dense and rich with visual arcana and poetry.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
The first of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme focuses on the forebearers of filmic and musical innovation over the last 70 years.
Two figureheads of the minimalist electronica pulse, Ikeda and Nicolai have been responsible for some of the most innovative and ground-breaking music of the last decade, redefining experimental electronica.
Joan La Barbara presents works exploring the colour spectrum of a single pitch resonating in her skull, an evocation of bird song and circular singing.
Solo performance on bass clarinet, jaw harp & voice by Arrington De Dionyso.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
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.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
