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.
Join Brian as he ruminates on the history of how experimental filmmakers and sound artists have drifted into and taken over galleries in order to show their work.
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’.
A celebration of the release of four books written by members of, and focused on about the House and Ballroom scene.
Four perspectives from people involved in different anti-capitalist and anti-racist struggles, considering how ideas of ‘ending’ have shaped their political thinking and praxis.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
This mini, late-night ball will include categories inspired by the events earlier in the weekend.
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
A specially commissioned performance for organ. “The course of the stars were to be put to sound.”
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.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
