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 short chat about what we (Arika) might be trying to do with our program for the Biennial.
A system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses-slow, molten and incredibly tactile flickers of colour and light.
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
Transfeminist and revolutionary poetry, voice and timbral abstraction: a sounding and spatialising of reparative sonic and somatic practices that can speak back to violent histories of expropriation and ecocide.
Miniscule free-noise hissy-fits and broken instrument scrape/ squeal jams from the fools what brought you Giant Tank.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
A landmark film on black life – a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
