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.
Organised by Twiggy Pucci Garcon and Pony Zion, The Masters Ball focuses on the work of 50 individuals designated within the scene as ‘masters’ in their respective performance categories, which include Vogue, Runway, and Face.
A Study Session focused on the thinking of Ailton Krenak – one of the great leaders of the Brazilian indigenous movement – led by curators and artists Amilcar Packer Arissana Pataxó.
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Join Scot-PEP, SWARM and Decrim Now for a day of panel discussions focusing on: sex worker’s labour rights, how decriminalisation can help in the struggle for sex worker safety, sex work & migration with a film screening of Crossings.
A film as a translation of Monique Wittig’s landmark feminist novel Les Guérillères, in which a plural protagonist of militant feminists inhabit a fantastical, enigmatic and hallucinatory miasmatic space-time of post Hurricane Maria Puerto Rico.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
A panel exploring the poetics of abolition. “Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change.”
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
