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.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
With lo-fi dreams and high-def humor, Bande brings MC vibes to the day. Interluding music with spoken performance, the live extimacy of Bande’s presence reaches out via emo-techno-bridges.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
Thought and action, writing and protesting. A chat with Nat Raha, KUCHENGA and Jackie Wang asking what can be learnt from writing across genres by agitators, activists and abolitionists?
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
A recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
Thuja specialise in a unique and abstract folk music, a devoutly organic tapestry deeply rooted in the sway and bow of nature.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
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?
