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.
Acting at the minimum. Each film here substitutes one small thing for another, (ironically) transforming received meanings by the simplest of actions; often kind of funny too.
4 days of performances, discussions, workshops, screenings with mutant dancers, prison abolitionist poets, transfeminist revolutionaries, haunted noise, science fiction, sex worker resistance, crip erotics, radical pornography and militant fiction.
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
How do we make the connections between the mutual aid practices of our daily lives and anti-capitalist efforts to dismantle wider systems of exploitation?
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
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?
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
Location: between: the abandoned site of Parker House (ex-council office building) that became a student accommodation regeneration project, off the Dudhope roundabout; Bell Street Car Park entrance ramp and; the awkward (and otherwise used/ used otherwise) space left over between the back of Tesco’s and DW Sports on the Murraygate.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
One of the most influential groups in improvised music, with the collective understanding that comes from listening keenly to each other for decades
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
