
Charles Curtis & Raha Raissnia
Charles Curtis Raha Raissnia
A beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
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 beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
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.
Politicised fan-fiction chronicling working class gay urban space and fantasy.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
This session focuses in on the defiant mutual aid practices of early and DIY feminist movements in the UK, that attempted to shift and radicalise care and kinship away from the domain of the nuclear family.
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.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
Percussion used to explore the social construction of space
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?