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.
Four intimate 45 minute sessions, readings of your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
Jandek’s second ever live performance, and the first to be advertised in advance.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
Jarringly beautiful and often maniacal expression of hallucinatory and very personal visions.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Ex-Decaer Pinga and CKDH rodeo queens; regular ladynoise hoedown gets gatecrashed by sonic chunder-huffing remedial clatter boys.
A performance, a radio show, an installation, an endurance test. A game of chance. Constantly broadcasting live, actor Tam Dean Burn will leave Tramway at the start of INSTAL and walk away from it, in an ever increasing spiral, for a day. Then he’ll walk back.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
