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.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
A recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
Strickland Distribution and Ultra-red give a practical sound workshop bringing together walk participants to discuss the issues raised during the walk
AMM have undoubtedly been among the most important contributors to the UK free improv scene for nearly 40 years and we are extremely proud to be able to be working with such distinguished musicians who still rarely play live in the UK.
On the birthday of Marsha P. Johnson, this event brings together several elements that celebrate the radical care and kinship characteristic of the Trans revolutionary.
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
