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.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
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.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
I wanna be with you everywhere is an everywhere gathering envisioned for and by disability communities and anyone who wants to get with us. IWBWYE returns to Performance Space and any space on June 21 for an outdoor pop-up and hybridized event.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
Includes: a £20 note, stock fluctuations, an examination of words in the video medium, a linguistic challenge for your mind, a frame by frame dissection 50 words, shop front poetry, image and language head to head and newspapers under the microscope.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
