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 rethinking the body, the law, the state, gender, race, violence, care and empathy, how we might give humanness a different future?
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
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?).
One of the great experimental films. A 60 minute, three part riddle that maybe approximates our intellectual development by moving from imageless words to the recognition of silent images and the learning of simple tasks and finally a serenity and acceptance of death.
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
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.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
This event honoured those individuals who achieved the status of Icon during the period of 1986-1990.
A meditation on how all of us perform — sometimes reinforcing, sometimes subverting — the shifting categories of gender, sexuality and race.
A multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
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?
