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.
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.
A delicate and detailed walk through the urban and rural landscape around Dundee; a poetic focus on the details found. A performance for 16mm projection and live amplified objects (maybe pine cones, maybe a coke bottle).
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Open-ended, paradoxical and performed investigations into: misunderstanding, language games, form saturated with sense, and consecutive matters…
First in a series of workshops for workers and non-workers who care. Does work that asks us to be attentive to the needs of others force us to sell our capacity for kindness?
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
Two bottomless brunch writing workshops—with readings—speculating the relationship between space, infrastructure, technologies and sex.
A recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
Usurper jamming live in a skip at the site of Bud’s Neill’s Lobey Dosser statue on Woodlands Road.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
