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.
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.
Performances of compositions by Jean-Luc Guionnet and others, with Julia Letitia Scott, Iain Campbell F-W, Neil Davidson, Fritz Welch, Liene Rozite, Emilia Beatriz.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
As part of Karrabing’s visit to Scotland, the collective will be hosted for three days in the Isle of Skye by The School of Plural Futures.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
A landmark film on black life – a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
An improvisation that may or may not involve (typical) improvisation.
