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.
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.
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
By focusing on the things that most people don’t notice or pass by uncaring – Steve Roden crafts gentle, sparse and metaphorically loaded compositions.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
Sci-fi. After the club. Underground. Counter-narrative. Narrated movement. Cultural resistance. Wu Tsang and boychild’s collaborative performance series, will continue its evolution at Episode 9 with the addition of TOTAL FREEDOM.
A system in which oscillators shake The Arches, seismographs pick up the harmonics that are then amplified through massive sub-bass PA.
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
