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.
A collaborative duo performance, Anoyonodekigoto sets up a sort of negotiation between a musician, a dancer, the audience and the space we’re all sharing.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
Three short performances involving social exchange (jumpers, hats, glasses…) and singing (ballads)
A cast of pioneering spirits over an expanded three day festival including Jandek (one year on from his first ever show at INSTAL 04), JO-JO, Tetuzi Akiyama,Tom Bruno, Pauline Oliveros, a legendary Hijokaiden performance and Henri Chopin.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
