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.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
A 101 panel on sex work in Scotland, hosted by National Ugly Mugs, Sex Workers Union, Scotland for Decrim (Decrim Now) host
Reading their letters to each other, and chatting about prefigurative politics as the practice of relentlessly building worlds through unspeakable violence and loss; of building worlds and living in them anyway.
INSTAL’s third outing saw performances by AMM, Cosmos (Sachiko M & Ami Yoshida), Voreboms, Vibracathedral Orchestra with Matthew Bower and John Godbert, Paragon Ensemble, Merzbow and Ryoji Ikeda.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
Los Glissandinos work with clarinet and sine tones beating and thrumming in your middle ear, all beautifully paced and serene, but with just enough steely menace broiling under the surface to keep you on edge.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
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?
Come for the crip ingenuity; stay for the smooth feels of what it is to be each other’s everything.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
