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.
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
Three iconic figures from the Japanese underground assembled as a trio to stand in for the advertised duo of Junko and Jerome Noetinger who was unable to attend the festival due to illness.
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
