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.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
First in a series of workshops for workers and non-workers who care. Does work that asks us to be attentive to the needs of others force us to sell our capacity for kindness?
Ray and Thomas talking about how cognitive neuroscience is unlocking the physical basis of personal experience.
Durational group-mind drone and clatter: bamboo, electronics, the contents of your local ironmongers bin. A 3-hour set from this legendary Japanese improvisation group.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
An utterly deep introspection told in aching, weeping guitar lines; melodic, simple, always minimal but somehow entirely epic.
Strickland Distribution and Ultra-red give a practical sound workshop bringing together walk participants to discuss the issues raised during the walk
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
