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.
The Echo project is an installation as audio guide for a crowd. And at the same time it’s a private conversation: with you, as one of 20 people in a room, a sort of public intimacy.
Beyond time, colorlines, ability, and sexuality, a movement exploration into what it means to see and be seen, how hearing contrast with what is actually being heard.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
Paul Sharits is one of our all time heroes, and one of the great artist filmmakers of the 20th Century.
A Study Session focused on the thinking of Ailton Krenak – one of the great leaders of the Brazilian indigenous movement – led by curators and artists Amilcar Packer Arissana Pataxó.
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.
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.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
