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.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
The first of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme focuses on the forebearers of filmic and musical innovation over the last 70 years.
Voguing, drag, clubbing, and the politics of communities making different performances of gender and sexuality visible.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
