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.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
A system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses-slow, molten and incredibly tactile flickers of colour and light.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
Includes: a classic of innovative computer graphics, ex-pat Scot McLaren on form, a riotous psychedelic oil show with a Soft Machine accompaniment, subtle manipulation of data feedback, a colourful road movie and a reworking of a lost Paul Sharits film.
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
Sadia Shirazi & Mezna Qato will discuss a series of scores that explore the texture and landscape of exile, resistance, and Muslim sociality. These instructional scores trouble the idea that art and activism are untouched by faith and faith is untouched by art and activism.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
