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.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
Droner responsible for Fordell Research Unit, Muscletusk’s murk manipulator and Metzian concrete-mixer cement international relations and yr heids.
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
Three days of discussions, performances, actions, dancing and food – continuing No Total’s ongoing contemplation of ways of being together and the ways Arika have been entangled in those, ever since Episode 4.
Poems are kisses, fists, and underground rivers. For all these reasons and many more, I am a poet.
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.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
A sound of buzzing and flickering metallic drones, glottal stops and guttural growls, and also an explosiveness and purity of sound that reminds you as much of Bill Dixon as anyone else.
Transfeminist and revolutionary poetry, voice and timbral abstraction: a sounding and spatialising of reparative sonic and somatic practices that can speak back to violent histories of expropriation and ecocide.
