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.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Cask-strength electrohypnol/ shroom damaged folk croonings by Lapsed Electronics empire builder responsible for recent Tremors blowouts.
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
Los Glissandinos work with clarinet and sine tones beating and thrumming in your middle ear, all beautifully paced and serene, but with just enough steely menace broiling under the surface to keep you on edge.
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
Kylie Minoise Vs Nackt Insecten feedback/ vocal physical threat ‘vs’ ecstatic electronic cloudbursts
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
