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.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Ex Ganger guitarist’s solo performance for guitar and fx, featuring breathless processed guitar, complex in structure and melody.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
Profound mathematical ideas for romantics, to help us linger in the difference we share.
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
The Truth and Lies book project emerges as part of a rising tide of sex worker art and organised struggle to end criminalisation and stigmatisation of sex work.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
Ian and Gil will host a discussion on the Argument project’s social and political commentaries, and with you try and maybe think through whether and how they might still have some currency today: what’s changed and what’s stayed the same?
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
