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.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
Criminal Queers visualises a radical trans/queer struggle against the prison industrial complex, working to abolish the multiple ways our hearts, genders, and desires are confined.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
A celebration of risk taking and adventure from some of the boldest pioneers of the past 40 years, melding avant garde and underground forms of music and moving image to create new experiments and experiences in sight and sound.
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
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.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
For day three of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Nancy Nevárez.
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Amid the blur of erotics, the jangle of poetics, and the fetishizing of sickness and disability, the heat of Panteha’s performance and sculpture freezes all.
