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.
On the birthday of Marsha P. Johnson, this event brings together several elements that celebrate the radical care and kinship characteristic of the Trans revolutionary.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
Poetry of raw fearless truth and the realest crip insight fully embedded in absolute lyrical lounge.
“The miracle of Herman Melville is this: that a hundred years ago in Moby Dick…he painted a picture of the world in which we live, which is to this day unsurpassed.” – C. L. R. James
A concrete walkway ending in mid air, a ridiculously tight squeeze between three office buildings and various other sites of Labour politician and council leader T. Dan Smith’s modernist regeneration projects and ‘slum clearances’ of the 1950’s and 60’s.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
A socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.
As opposed to suggesting soundtrack’s to Brakhage’s works [which are almost entirely silent] Text of Light use his works to stimulate improvisation, enveloping them into the structure of the group much like an additional musician.
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
