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.
Radical transfeminism aims to hold the space for finding relations between the ruins of the everyday. Emerging from the debris, spaces for politics find form as poetics to carry understandings, actions and be/longings.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
The second edition of the INSTAL festival broadened it’s scope to include performances from Francisco Lopez, Phil Niblock, Stefan Mathieu, Alva Noto, Ryoji Ikeda and John Wall.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
Solo performance on bass clarinet, jaw harp & voice by Arrington De Dionyso.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Edinburgh. Beer and smoke befuddled drone/ deadly efforts by Pjorn72 kingpin.
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
