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.
Conceptual writer and practicing lawyer Vanessa Place performs and talks with Mark Sanders, author of the brilliant “Complicities: The Intellectual and Apartheid”
Radical transfeminism aims to hold the space for finding relations between the ruins of the everyday. Emerging from the debris, spaces for politics find form as poetics to carry understandings, actions and be/longings.
Two bottomless brunch writing workshops—with readings—speculating the relationship between space, infrastructure, technologies and sex.
Freak-out group for the 21st century perform a live soundtrack to Ira Cohen’s infamous psychedelic masterpiece ‘The Invasion of Thunderbolt Pagoda’
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
