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.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
This trans-exclusive workshop, co-facilitated by River McAskill, River Molloy and Zinzi Buchanan, offers body-focused exercises and creative practices for a trans-exclusive space, situated within the present local and global climate. We will bring an array of offerings related to the question: how can we take care of ourselves and one another, when we can’t trust state systems to take care of us? Come as you are and bring anything that adds to your comfort.
Austrian guitarist who specialises in a warm digital deconstruction of guitar noise
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
A sound diffusion piece by Glasgow University’s Musica Electronica, and a further selection of electroacoustic performances.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
