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.
In this interactive workshop, Dean Spade, author of Mutual Aid, will share key principles, explore common challenges in mutual aid work, and offer tools for working through them.
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
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 chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
Freeform Super 8mm documentation of Sunday at Instal 06 by filmmaker Matt Hulse.
Ellis’s processional, precessional cessation and continuation of movement and music comes to us via his forthcoming release Aster of Ceremonies (Milkweed Editions, 2023)
Location: between: the abandoned site of Parker House (ex-council office building) that became a student accommodation regeneration project, off the Dudhope roundabout; Bell Street Car Park entrance ramp and; the awkward (and otherwise used/ used otherwise) space left over between the back of Tesco’s and DW Sports on the Murraygate.
An evening of live performances, readings & saucy rococo cakes celebrating the launch of Truth and Lies – An Anthology of Writing and Art by Sex Workers.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
