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.
Create your own badge designs, with collaging, drawings, stickers and more! Whether your badge is playful, political, expressive or just for fun this is a space to create something that feels like you.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
Four perspectives from people involved in different anti-capitalist and anti-racist struggles, considering how ideas of ‘ending’ have shaped their political thinking and praxis.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
One of the most incessantly experimental musicians in the UK, Youngs’ aesthetic is entirely unique, never really part of any scene [whilst influencing many], steadfastly unafraid and honest
A three-day celebration surveying all manner of diverse musical activities, which at their core share a basic kinship: one of exploration and the discovery of musical expresssion.
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
