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.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
Goofily deformed, deeply thought vocal jams: like the sound of your own breath rushing through your head.
Poetry of raw fearless truth and the realest crip insight fully embedded in absolute lyrical lounge.
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary 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.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
Freeform Super 8mm documentation of Saturday at Instal 06 by filmmaker Matt Hulse.
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?
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
Free-jazz chat with Sabir Mateen, Daniel Cater, Andrew Barker – hosted by Byron Coley.
