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.
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.
Black Boned Angel’s is a rock sound, stripped of all extraneous detail right down to its core, stretched out and nailed to the ceiling.
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
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.
An extravagant debauch of huge pianos, plush toys, cognac and ritual.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
For musical chameleon Richard Youngs both his creative and family life are focused in the room that many of us consider the centre piece of our lives.
An utterly deep introspection told in aching, weeping guitar lines; melodic, simple, always minimal but somehow entirely epic.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
Laser beam sine tones used to draw delicate, abstract patterns by vibrating charcoal, placed atop of a great strip of paper running through the gallery; beautiful, fragile sound-created autonomous drawing.
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.
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?
