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 OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
A silent performance of (musical) reverberation.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
We’ll be looking at decolonising ‘global mental health’. We’ll look at the concepts of decoloniality, of things being ‘culture bound’, and at hermeneutical injustice* as ways to examine dominator knowledge systems, and the institution of psych/iatry.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
Akio Suzuki and John Butcher performing in an abandoned oil tanker on Hoy.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
