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.
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
The first of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme focuses on the forebearers of filmic and musical innovation over the last 70 years.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
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.
Out of a dark haze, shafts of lights are picked out from the surface of film. Out of the black silence, noise, audible scratches bloom into a bright drone of broken and cracked objects.
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
