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 multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
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…
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
An event exploring anarchic and communal situations of musical creation with MV, EE and The Cherry Blossoms.
Vajra are a Japanese psychedelic rock supergroup, hewn from the collective consciousness of Fushitsusha’s Keiji Haino, folk radical Kan Mikami and percussionist Toshiaki Ishitsuka.
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
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?
Guy Sherwin gives a kind of annotated, chat through his optical sound films
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
A celebration of risk taking and adventure from some of the boldest pioneers of the past 40 years, melding avant garde and underground forms of music and moving image to create new experiments and experiences in sight and sound.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
