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.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
Leading language/ action/ sound poet performed his groundbreaking concrete poem, a dizzying mandala of text, symbols and rubber stamps; a kind of book as reading machine.
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
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.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
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?
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
