Episode 12
Save the dates for Episode 12.
Wednesday 11 – Sunday 15 November 2026
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.
Save the dates for Episode 12.
Wednesday 11 – Sunday 15 November 2026
A recreation of one of Gustav Metzger’s celebrated auto destructive performances.
Inspired by the supernatural horror of H. P. Lovecraft, black metal and a sense of worry as to what constitutes an object, or a world.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
A conversation about the movement for prison abolition and refusing the logic of race and sex that underpins the criminalisation and mass incarceration of communities.
Radu plays a trombone, Klaus creates pure sine waves: they sound on their own, or sometimes together and often with considerable space and silence.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
A joyful conversation discussing disability, gender transition and care labour as expressions of virtuosic and innovative skills that make care – good care – possible.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
Edinburgh. Nigh-inaudible improv jams with disabled instruments from the makers of Giant Tank and Pizza Boy Delivery.
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.