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.
Gravitational Feel is an engine for intensifying the differentiation of our entanglement, which you continually reprogramme in the mutual rub, shift and lap of its sonic, wooden, steel, textile and human material.
A dance party love letter to our community, expressing the joy of relation in the abstract and through actual physical proximity.
Leading language/ action/ sound poet performed his groundbreaking concrete poem, a dizzying mandala of text, symbols and rubber stamps; a kind of book as reading machine.
A meditation on how all of us perform — sometimes reinforcing, sometimes subverting — the shifting categories of gender, sexuality and race.
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
The final iteration of Arika’s INSTAL festivals, the 2010 edition was an experimental festival of experimental music – 3 days of events at the Tramway that explored un-average ideas about sound and music.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
A recently reanimated Ascension, with mighty Leeds drum hero Paul Hession bringing a dense polyrhythmic torrent into play with Jaworzyn’s reinvigorated piercing guitar.
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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
