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 parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
Mashed up queer fantasy of worker’s revolts, biblical demons and present-day hells, and dubbed out cyborg-electro.
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
Opening with one of the most memorable shots ever filmed, and screened a year after the initial successes of the 2011 Egyptian revolution, Too Soon, Too Late is a search for the traces left on the landscape of past revolutions in France and Egypt.
Thought and action, writing and protesting. A chat with Nat Raha, KUCHENGA and Jackie Wang asking what can be learnt from writing across genres by agitators, activists and abolitionists?
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
For musical chameleon Richard Youngs both his creative and family life are focused in the room that many of us consider the centre piece of our lives.
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.
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
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?
