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.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
Has neoliberal capitalism locked down social experience? Are our seemingly subjective desires, our identities, pre-packaged by dominating social structures?
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Out of a dark haze, shafts of lights are picked out from the surface of film. Out of the black silence, noise, audible scratches bloom into a bright drone of broken and cracked objects.
Includes: solar flares, insect fireworks, a new film from Ian Helliwell, pulsating glaciers, an apple being eaten alive, sea ravaged stock, crushed blackberries and film that has literally risen from the grave.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
A performance of Ueinzz’s new play. Each Ueinzz performance is a process of reinvention, between exhaustion and a fleeting vision: singular, collective, anonymous, plural, suspensive, intensive, unworking life.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
