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 fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
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.
4 days of performances, discussions, workshops, screenings with mutant dancers, prison abolitionist poets, transfeminist revolutionaries, haunted noise, science fiction, sex worker resistance, crip erotics, radical pornography and militant fiction.
A film as a translation of Monique Wittig’s landmark feminist novel Les Guérillères, in which a plural protagonist of militant feminists inhabit a fantastical, enigmatic and hallucinatory miasmatic space-time of post Hurricane Maria Puerto Rico.
Open-ended, paradoxical and performed investigations into: misunderstanding, language games, form saturated with sense, and consecutive matters…
Julius’ “small music” features simple snatches of found sound, played back through small speakers, often set in bowls of pigment and dirt which shimmies in the vibrations.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
Organised by Twiggy Pucci Garcon and Pony Zion, The Masters Ball focuses on the work of 50 individuals designated within the scene as ‘masters’ in their respective performance categories, which include Vogue, Runway, and Face.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
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.
