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.
In 2008 we toured our Kill Your Timid Notion festival of experimental sound and image to London, Bristol and Glasgow, bringing audiences a taste of the previous 5 festival editions.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
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.
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
Duo performance by two great French musique concrète improvisers using feedback, contact mics, tape, an old Revox tape machine, a vintage synth…
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
Sadia Shirazi & Mezna Qato will discuss a series of scores that explore the texture and landscape of exile, resistance, and Muslim sociality. These instructional scores trouble the idea that art and activism are untouched by faith and faith is untouched by art and activism.
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
