
Six Organs of Admittance
Six Organs of Admittance
Pitching Fahey inspired, eastern-infused folk vibrations, sad elliptical drones and oracle chants into one kaleidoscopic sound.
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.
Pitching Fahey inspired, eastern-infused folk vibrations, sad elliptical drones and oracle chants into one kaleidoscopic sound.
Part old-fashioned Renaissance man, part hardcore avant-gardist, the Canadian painter-photographer-filmmaker-musician gives full vent to his genius in the exhilarating perceptual vaudeville, named after the ‘central region’ of tissue that acts as a conduit between the brain’s two hemispheres.
A historical narrative of the black and Latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to race, gender, sexuality and class oppressions.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
An utterly deep introspection told in aching, weeping guitar lines; melodic, simple, always minimal but somehow entirely epic.
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
Duo performance by two great French musique concrète improvisers using feedback, contact mics, tape, an old Revox tape machine, a vintage synth…
A celebration of the release of four books written by members of, and focused on about the House and Ballroom scene.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
A voice that can vault from an elegantly whispered insinuation to asphyxiated and murderous barks or squalls in a heartbeat.
A recreation of one of Gustav Metzger’s celebrated auto destructive performances.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.