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.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
The second edition of the INSTAL festival broadened it’s scope to include performances from Francisco Lopez, Phil Niblock, Stefan Mathieu, Alva Noto, Ryoji Ikeda and John Wall.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Free jazz pianist John Blum with an everywhere-at-once presence in duo with Jackson Krall, incendiary free jazz drummer and sound sculptor
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
Reading their letters to each other, and chatting about prefigurative politics as the practice of relentlessly building worlds through unspeakable violence and loss; of building worlds and living in them anyway.
Every aspect of every film is always about more than just film. Or, as Godard said: a tracking shot is a moral issue. A cross between a festival, magazine and discussion about experimental artists’ films.
Argument is a provocative, multi-layered film essay, a trenchant analysis of the media and remains a critically relevant and critically inflammatory tract.
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
