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.
An open collaborative workshop space in which games, warm-up sessions, exercises and scenes are potentially the same thing, through which to project your own concerns onto the stage.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
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.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
Kanta is a young Japanese artist with a home-made, short circuited take on electronics and physical phenomena which he uses in performance to produce close circuit systems of audio / video feedback.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
