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.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
A landmark film on black life – a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
Ian and Gil will host a discussion on the Argument project’s social and political commentaries, and with you try and maybe think through whether and how they might still have some currency today: what’s changed and what’s stayed the same?
Edinburgh. Sinewave manipulating Giant Tank-ette goes head-to-head with Decaer Pinga’s first lady of noise.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Summing up of the investigations with a reflection on what has been done that week and what could be done the next.
Adamantly analogue, inspiring and frequently chaotic in performance, Metamkine draw no distinction between image and sound; during their intuitively improvised performances music and images are created simultaneously and equitably.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
Electronic music, time, thought, the word, and consecutive matters
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
