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 immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
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.
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.
A freestyle performed conversation for bodies and voices – with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.
A mixture of investigation groups, live performances, screenings and installations at DCA; the festival looked to strip back music, sound, film and moving image to their core ideas and explore them with artists and audiences.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
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.
A performed, open, public conversation about how we might think politics from the position of intuition, in which Denise and Valentina use un-reasonable tools to map out a hybrid poetical/ ethical reading of their own situations.
No Wave, damaged garage jams and crazed instant vocal shrieks.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
