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.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
For this day-long festival, sex workers and their allies from New York, the tri-state area, and Europe will gather at MoMA PS1 to debate, perform, dance, strategize & share knowledge.
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
Chip’s written some of the greatest of all Sci-Fi and Fantasy—page turning character driven diamond-hard novels and short stories: each a lens that refracts our real-life struggles and desires.
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.
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
