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.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
A drone installation populated by flourescent strip lights working in complicity with analogue radios – “all the lights just do their thing”.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
One of the most incessantly experimental musicians in the UK, Youngs’ aesthetic is entirely unique, never really part of any scene [whilst influencing many], steadfastly unafraid and honest
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.
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
An assembly to try and provide some experiential and theoretical resources for the renewal of a certain affective, extra-political sociality, in the face of one of our great adversaries; the forces of colonial, imperial, genocidal denial.
Quintessentially British, The Bohman Brothers’ music is a home-made and DIY conflux of some of the most virulent strains of experimental music.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
