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.
Dir. Nicolas Philibert
Documentary of La Borde clinic in France and its radical politics of experimentation, in which residents and staff reciprocate in a kind of entanglement, an opening up amongst themselves.
Quartet improvisation by Klaus Filip – laptop, Radu Malfatti – trombone, Sean Meehan – snare & cymbals, Taku Unami – rice and dish.
A series of badly felted lock-ups and garages + multiple locations within the Megastructure – a purpose built town centre in one building, comprising (in the 50’s at least) of housing (never occupied), shops, apartments, a hotel, ice rink, police station and other amenities
Tell Me About It creates a space for direct one-to-one conversations with people who habitually find others (filmmakers, politicians, journalists) speaking on their behalf… In partnership with Edinburgh Art Festival.
“Beginning where you and me ends, where we don’t so much come but are already here.” Join James and Nisha to talk about breath, erotics and flesh, about our social, poetic cosubstantiality.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
A spectacular musical show which discusses the representation of a nation state, its characters and history. A learning play on myth construction and its reproduction.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
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?
