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.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
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.
Complex ways of understanding our complex times. Maths & Poetics. Gesture & Physics. Collectivist Struggle & Desire. 5 days of performances, discussions, screenings and study sessions.
How do poetry and maths stitch together pictures of our fractured situation from its wreckage and relics, from the debris of hope and the well of residues that make us what we are?
If life is assaulted by power, where do we find spaces for living? A conversation with Peter Pál Pelbart.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
This event honoured those individuals who achieved the status of Icon during the period of 1986-1990.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
