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.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
A socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
Underlying radical transfeminism, as an urgent critique of binary essentialism and fixed identities, is the call for a new kind of thinking that can move between and integrate the truths of all lives in their transformations.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.
A kind of performed installation of searing noise and silence, where we’re not sure who the performer is, when it starts or ends or even who it’s for.
An informal conversation, over breakfast, about how abolition and movement work structures Mijke and Nat’s approach to transfeminism, ahead of their new book Trans Femme Futures.
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
