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 kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
For this day-long festival, sex workers and their allies from New York, the tri-state area, and Europe will gather at MoMA PS1 to debate, perform, dance, strategize & share knowledge.
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.
A collaboration bringing together artists with a shared gravitational heft to their work; an intense and concentrated accumulation of detail and power.
The practice of North African Indigenous revolutionary love, in the face of European capitalist violence and settler colonialism, with one of the most vital anti-colonial thinkers in Europe.
A panel exploring the radical potential of technologies through fugitivity and opacity: their ability to obscure, to make it impossible for us to be known, to render us untraceable by every arm of the state even under the all-consuming spectre of surveillance capital.
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
No Wave, damaged garage jams and crazed instant vocal shrieks.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
