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 recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
We asked Christoph to come and give a sort of informal talk, raising some of his ideas about sound and image, and playing/ showing a few examples.
Avant-wrongdoers Blood Stereo performing in Garthamlock the town spawned them.
How do we gesture to the invisible, the trans or the obscure? A performative conversation between boychild and Fernando, a sharing of gestures, and a bodily back and forth between mathematician and dance artist.
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary listening.
An open conversation around the history and practices of the Ueinzz Theatre Company – a radical Brazilian schizoscenic theatre company of carers, so-called psychotic patients and philosophers.
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
