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 queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
Two bottomless brunch writing workshops—with readings—speculating the relationship between space, infrastructure, technologies and sex.
Criminal Queers visualises a radical trans/queer struggle against the prison industrial complex, working to abolish the multiple ways our hearts, genders, and desires are confined.
This mini, late-night ball will include categories inspired by the events earlier in the weekend.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
A socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
Each of these films addresses place, landscape or location and the personal reaction to their magical or concrete properties. Watch out for Kren’s structural, throbbing investigation of a forest and Baillie’s intimate and humble essay on a blind guitarist and the relationship between songs of Mexican revolutionaries and the people and places they looked to inspire.
West Coast drone-age guitar grumbler/ consumer electronic reclaimer meets free-thinking clang/ chime/ drone bluesman of The East.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
