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.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
A silent performance of (musical) reverberation.
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
A public gathering that brings together local artists, musicians, activists, and community organisers.
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
