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.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Setting up a minimal procedure to explore the interaction between a person and the (documentary) film/ video process. What initially seems simple ends up contrarily distanced and intimate, public and private.
A three-day celebration surveying all manner of diverse musical activities, which at their core share a basic kinship: one of exploration and the discovery of musical expresssion.
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…
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
(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.
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.
Join Scot-PEP, SWARM and Decrim Now for a day of panel discussions focusing on: sex worker’s labour rights, how decriminalisation can help in the struggle for sex worker safety, sex work & migration with a film screening of Crossings.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
