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.
Out of a dark haze, shafts of lights are picked out from the surface of film. Out of the black silence, noise, audible scratches bloom into a bright drone of broken and cracked objects.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
Vanessa Place talks at The Friday Event series at the Glasgow School of Art about her practice as a writer.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
