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.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
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?
Jandek’s second ever live performance, and the first to be advertised in advance.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
“Mackey composes realist-mythic layering of lyrical prose unlike anything being written today.” — New York Times. “Our greatest living epic poet…Mackey’s poetry and criticism have reinvented modernism for our time.”— LitHub
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
