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.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
Life drawing class for artists of all genders, backgrounds and levels of ability, 18+. Draw strippers and sex workers as they perform their usual club routines, in a different context; from the strip club to the art gallery.
A panel exploring the poetics of abolition. “Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change.”
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
Emotional fantasies, towers of cakes, identity troubles, collapsed distance and time and Samuel R. Delany’s rarely seen 1971 film The Orchid.
60 minutes of hard ass minimal film, projected onto a weather balloon and accompanied by the inspired poetic rant of a visionary Frenchman.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.
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.
