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 conversation about the movement for prison abolition and refusing the logic of race and sex that underpins the criminalisation and mass incarceration of communities.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
The films in the programme take the essential and fundamental building blocks of cinema (combining sound and image through time) screw about with them, interrogate them and cast them anew.
Folk poet, actor and bon viveur Kan Mikami in duo with Jojo Hiroshige, a founding member of Japanese Noise band Hijokaidan.
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
Veterans of the psych-infused UK free noise scene, the Vibracathedral Orchestra is a hypnotic ur-drone group hailing from Leeds.
Dundee. Progressive rhythmical guitar squall vs. post-highland discorporate dusk-jockey.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
A dense, hard, immersive, chaotic spatial performance in sound: a momentary gap in consciousness, free of order or decision.
Complex ways of understanding our complex times. Maths & Poetics. Gesture & Physics. Collectivist Struggle & Desire. 5 days of performances, discussions, screenings and study sessions.
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.
