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.
Akio Suzuki and John Butcher performing by the Stones of Stenness, instead of the Ring of Brodgar, because of bad weather.
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.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
The reknowned artist Kjell Bjørgeengen works collaboratively with innovative musicians to make complex installations. Channels of flickering light are produced in response to and from sound.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
For day three of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Nancy Nevárez.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
A chat with Eugene Thacker. Can we rethink the world as unthinkable, and without us?
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
