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.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
Performances at St Giles in the Fields, London by Jandek, Rhodri Davies & Angharad Davies, Rauhan Orkesteri.
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
Four perspectives from people involved in different anti-capitalist and anti-racist struggles, considering how ideas of ‘ending’ have shaped their political thinking and praxis.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
Part old-fashioned Renaissance man, part hardcore avant-gardist, the Canadian painter-photographer-filmmaker-musician gives full vent to his genius in the exhilarating perceptual vaudeville, named after the ‘central region’ of tissue that acts as a conduit between the brain’s two hemispheres.
A festival asking how ideas of nihilism, darkness, subjectivity and abjection play out in experimental music, performance art, horror, neuroscience and philosophy?
Organised by Twiggy Pucci Garcon and Pony Zion, The Masters Ball focuses on the work of 50 individuals designated within the scene as ‘masters’ in their respective performance categories, which include Vogue, Runway, and Face.
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.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
