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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
CCI Sound system: a performance in which new material will be mixed and phased between two huge PA’s, one a precise Meyer system, the other a huge wall of Marshall amps
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
A historical narrative of the black and latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to its artistic practices.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
A festival hewn from passions for experimental music, film and visual art and for a passion in figuring out how they can relate to, cross-fertilise and inspire and each other.
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
