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.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
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’.
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
The Echo project is an installation as audio guide for a crowd. And at the same time it’s a private conversation: with you, as one of 20 people in a room, a sort of public intimacy.
Ellis’s processional, precessional cessation and continuation of movement and music comes to us via his forthcoming release Aster of Ceremonies (Milkweed Editions, 2023)
Can our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
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?
