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.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
Umeda is a Japanese artist who is as fascinated in setting up interesting situations to observe, as he is in creating performances.
An informal conversation, over breakfast, about how abolition and movement work structures Mijke and Nat’s approach to transfeminism, ahead of their new book Trans Femme Futures.
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
This closing session will be a space for reflection and feedback. We can discuss ways we can share what we’ve learned and explored with our wider communities. We can talk about if we want to do more sessions and /or projects together.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
