
Personal Space
Kylie Minoise
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
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.
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
Ken Jacobs chats to Edwin Carels: Edwin is a curator based in Ghent, responsible for some fantastic programmes of experimental film and art at the Rotterdam Film festival (amongst others).
An audio/ video, lecture/ performance exploring the queer and companionly inter-activity of human-animal relations.
Jarrod Fowler creates a social space where layered one-to-one live encounters with the audience become sonic material.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
Leading language/ action/ sound poet performed his groundbreaking concrete poem, a dizzying mandala of text, symbols and rubber stamps; a kind of book as reading machine.
Deliberately blurred drones, absent of definite structure or rhythm, framed in silence and devoid of any distraction from the pure matter of sound.
Ten short intimate one-on-one conversations with Robert Softley Gale – We all want to see ourselves reflected in the world around us—in society, in art, in culture… in porn?
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?