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 do we make the connections between the mutual aid practices of our daily lives and anti-capitalist efforts to dismantle wider systems of exploitation?
Inspired by Delany’s Aye, and Gomorra. A spookily filmic world where asexual bodies live in the contradiction of their unarousable loneliness and desire for intimacy and contact.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
Jean-Luc Guionnet will be giving a talk as part of the music department’s ongoing series of colloquia.
A freestyle performed conversation for bodies and voices – with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
As part of Karrabing’s visit to Scotland, the collective will be hosted for three days in the Isle of Skye by The School of Plural Futures.
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
Ten short intimate one-on-one conversations with Robert Softley Gale – We all want to see ourselves reflected in the world around us—in society, in art, in culture… in porn?
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
Merzbow takes the junk of sound and transforms it into blistering noise assaults with an incredible spectrum and impact.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
