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.
Akio Suzuki and John Butcher performing in an abandoned oil tanker on Hoy.
A historical narrative of the black and Latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to race, gender, sexuality and class oppressions.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
A freestyle performed conversation for bodies and voices – with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Simon Morris is joined by Nick Thurston as they attempt to read aloud whilst peddling on exercise bikes.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
