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.
A whistle stop tour of visual and material culture that has anchored the sex workers rights movement through the decades until today.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
Edinburgh. Nigh-inaudible improv jams with disabled instruments from the makers of Giant Tank and Pizza Boy Delivery.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
TEST is a collective creative improvising quartet based out of the NYC Underground (figuratively and literally). Their street-hardened, spatial Jazz is riotous and intense: is also makes us think about collective organization, and different ideas of responsibility and liberty.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
INSTAL’s third outing saw performances by AMM, Cosmos (Sachiko M & Ami Yoshida), Voreboms, Vibracathedral Orchestra with Matthew Bower and John Godbert, Paragon Ensemble, Merzbow and Ryoji Ikeda.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
An open collaborative workshop space in which games, warm-up sessions, exercises and scenes are potentially the same thing, through which to project your own concerns onto the stage.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
