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.
On the birthday of Marsha P. Johnson, this event brings together several elements that celebrate the radical care and kinship characteristic of the Trans revolutionary.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
Ex-Decaer Pinga and CKDH rodeo queens; regular ladynoise hoedown gets gatecrashed by sonic chunder-huffing remedial clatter boys.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Copying without Copying is 3 evenings of events that are about what happens when we speak, or when we hear someone speak on our behalf, when we share a collective moment of hearing and maybe understanding.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
Three short performances involving social exchange (jumpers, hats, glasses…) and singing (ballads)
