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.
We wanted to ask a bunch of the best high-energy-improvisers around; can musical form really taking shape via a group energy? Can individual concentration lead to a group consciousness?
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
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.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
Robin Hayward – exploring the micro-sounds of a tuba, filling slowly with sand.
Radu plays a trombone, Klaus creates pure sine waves: they sound on their own, or sometimes together and often with considerable space and silence.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
