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.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
Our Zooms are unmuted, our mics are open, and our hearts and bodyminds are receptive. We give the floor online and in person to you…
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
On the birthday of Marsha P. Johnson, this event brings together several elements that celebrate the radical care and kinship characteristic of the Trans revolutionary.
Work that focuses in on the static hiss and background noise of recording and pushes it to the fore.
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Profound mathematical ideas for romantics, to help us linger in the difference we share.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Imagine entering a library where readers can borrow human beings serving as open books. Then select a book stack that specialises in sex work.
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?
