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 saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
Has neoliberal capitalism locked down social experience? Are our seemingly subjective desires, our identities, pre-packaged by dominating social structures?
How do grassroots feminist organisations strategise relationships between mothers, parents, carers and their children based on respect and empowerment, in resistance to the practice of putting children in often the most uncaring of places – care.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
Andrew Chalk & Christoph Heemann return with their diaphanous, impressionistic drone duo; their slowly evolving and enthralling works flutter and quiver with elegantly restrained, miniature sound events.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
