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 happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
A multi-speaker, electronic, spacious and spatial performance from Florian Hecker.
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.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
How do poetry and maths stitch together pictures of our fractured situation from its wreckage and relics, from the debris of hope and the well of residues that make us what we are?
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
