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.
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
