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 Festival supporting the struggle for Sex Workers’ Rights: share knowledge, discuss, dance and strategise!
2 days of online discussions and artists presentations exploring the cosmological, decolonial, sensorial practises of Black and Indigenous grass roots art, dance and music collectives in Brazil.
Dois dias de discussões e apresentações online de artistes explorando as práticas cosmológicas, decoloniais e sensoriais de coletivoas de arte, dança e música de base negra e indígena no Brasil.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
Simon Morris is joined by Nick Thurston as they attempt to read aloud whilst peddling on exercise bikes.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
Offering a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves. Expect fire and a little bit of smoke. Concluding with a D/deaf centered social space with conversational interpreters available for those who do not speak ASL.
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.
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?
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
