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.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Thuja specialise in a unique and abstract folk music, a devoutly organic tapestry deeply rooted in the sway and bow of nature.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
Shutter Interface is an expanded cinema piece: a series of machinegun bursts of chromatic relationships and visual harmonics in an overwhelming montage
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
Argument is a provocative, multi-layered film essay, a trenchant analysis of the media and remains a critically relevant and critically inflammatory tract.
TEST is a collective creative improvising quartet based out of the NYC Underground (figuratively and literally). Their street-hardened, spatial Jazz is riotous and intense: is also makes us think about collective organization, and different ideas of responsibility and liberty.
One-shot sonic portraits of 4 houses, their inhabitants and their relationship to sound, from 2 of the most deep-thinking field-recording artists around.
2 days of online discussions and artists presentations exploring the cosmological, decolonial, sensorial practises of Black and Indigenous grass roots art, dance and music collectives in Brazil.
Dois dias de discussões e apresentações online de artistes explorando as práticas cosmológicas, decoloniais e sensoriais de coletivoas de arte, dança e música de base negra e indígena no Brasil.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
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?
