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.
Captures the creak and rustle of the forest, with an exhilarating tension let loose in unconfined maniacal and bare-knuckle group thinking.
Sachiko M and Ami Yoshida, two of the most prominent members of the Onkyo movement, place much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
Greek TV company Onos Productions came to INSTAL 09 to document the festival and report on Nikos Veliotis’ Cello Powder performance.
The 2006 INSTAL festival saw a broad selection of artists that included Blood Stereo and Ludo Mich, Ellen Fullman and Sean Meehan, Keiji Haino and Tony Conrad and a specially created performance by Maryanne Amacher.
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.
One of the great experimental films. A 60 minute, three part riddle that maybe approximates our intellectual development by moving from imageless words to the recognition of silent images and the learning of simple tasks and finally a serenity and acceptance of death.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
A system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses-slow, molten and incredibly tactile flickers of colour and light.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
