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.
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.
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
One of the most revered and legendary underground acts of the past 20+ years, Current 93 is the constantly evolving creation of David Tibet.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.
Three days of discussions, performances, actions, dancing and food – continuing No Total’s ongoing contemplation of ways of being together and the ways Arika have been entangled in those, ever since Episode 4.
Glasgow. Low-end drone guitarage army in praise of the open chord.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
A conversation about the movement for prison abolition and refusing the logic of race and sex that underpins the criminalisation and mass incarceration of communities.
A poetic multi-screen performance about “the inadequacy of the arbitrary passing moment and the impossibility of permanence”. About time and change.
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.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
