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.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
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.
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
No Wave, damaged garage jams and crazed instant vocal shrieks.
A multi-media harp and spoken word tribute to the incalculable, the in-deducible, the suspicious static noise that accompanies the voice of truth, and the attempted aberrations in the domain of emergence.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
