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 three-day celebration surveying all manner of diverse musical activities, which at their core share a basic kinship: one of exploration and the discovery of musical expresssion.
Jandek’s second ever live performance, and the first to be advertised in advance.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
Take a break and/ or hang in an Open Meet Up in IRL and URL
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
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.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
A landmark film on black life – a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
