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.
Work that focuses in on the static hiss and background noise of recording and pushes it to the fore.
A workshop for educators, activists and young people to think about radical, anti-imperialist pedagogy, and what fighting for the Palestinian cause looks like for young people in the imperial core. PDF of the resource available soon.
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
Merzbow takes the junk of sound and transforms it into blistering noise assaults with an incredible spectrum and impact.
Three intimate 45 minute sessions, reading your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?
Trans-temporal drag, sexuality and the re-staging of illegible moments in history.
Ray and Thomas talking about how cognitive neuroscience is unlocking the physical basis of personal experience.
Ken Jacobs chats to Edwin Carels: Edwin is a curator based in Ghent, responsible for some fantastic programmes of experimental film and art at the Rotterdam Film festival (amongst others).
How do poetry and maths stitch together pictures of our fractured situation from its wreckage and relics, from the debris of hope and the well of residues that make us what we are?
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
