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.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
