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.
Coffee, Croissants & Massage – a welcoming breakfast for all with massage by qualified massage therapists present to give hand & head massages.
Poems are kisses, fists, and underground rivers. For all these reasons and many more, I am a poet.
A conversation of intergenerational trans-resistance and anti-racist fierceness between two of the most inspiring public speakers we know.
A queer black operatic requiem for piano and voice that asks us to stay in the hold of the slave ship, that tries to understand the connection from the slave ship to the prison.
A talk entitled ‘The Conquest of the Universe’: which delves into the connections between the underground filmmakers and musicians in New York in the early 1960s
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
5 days of film, music, discussion and study of our collective incompleteness—arrayed against the colonial ordering of how we come to know the world—practicing how we might exist otherwise, right here and now. Can we start to know and practice the world to come?
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
A workshop for educators, activists and young people to think about radical, anti-imperialist pedagogy, and what fighting for the Palestinian cause looks like for young people in the imperial core. PDF of the resource available soon.
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
