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.
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
(Cyber)feminist, non-essentialist transgender and queer daily radio shows using the formula of morning radio as an arch way of thinking about the scripted behaviour and controlled empathy of systematic care.
How do communities formed under the duress of violent othering and the joy of solidarity – such as ballroom culture, Black diasporas, Zapatistas – reform bonds of kinship?
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery
Julius’ “small music” features simple snatches of found sound, played back through small speakers, often set in bowls of pigment and dirt which shimmies in the vibrations.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
A festival asking how ideas of nihilism, darkness, subjectivity and abjection play out in experimental music, performance art, horror, neuroscience and philosophy?
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
Beyond time, colorlines, ability, and sexuality, a movement exploration into what it means to see and be seen, how hearing contrast with what is actually being heard.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
Includes: solar flares, insect fireworks, a new film from Ian Helliwell, pulsating glaciers, an apple being eaten alive, sea ravaged stock, crushed blackberries and film that has literally risen from the grave.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
