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.
Paper Piece: Secrets is a performance for and with the whole audience, using paper, text, secrets, being in the crowd
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground music.
A performed self-cancelling discussion, with artists from the festival, invited speakers and local artists talking at once, over each other, or straining to be heard over the din.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
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.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
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.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
How do grassroots feminist organisations strategise relationships between mothers, parents, carers and their children based on respect and empowerment, in resistance to the practice of putting children in often the most uncaring of places – care.
