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 fulcrum to the Japanese noise scene, JOJO Hiroshige has been responsible for much of the explosion of free music coming from Japan in the last 30 years.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
As opposed to suggesting soundtrack’s to Brakhage’s works [which are almost entirely silent] Text of Light use his works to stimulate improvisation, enveloping them into the structure of the group much like an additional musician.
AMM have undoubtedly been among the most important contributors to the UK free improv scene for nearly 40 years and we are extremely proud to be able to be working with such distinguished musicians who still rarely play live in the UK.
A preposterously heavy, eye of the storm musical tug of war, in which two drummers, electronics and electric guitar fall over each other in a droning crush.
A conversation between Philip and Moten: how do we read NourbeSe’s anti-narrative poetic lament in Glasgow today, given the city’s role in the history of slavery?
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
Ellis’s processional, precessional cessation and continuation of movement and music comes to us via his forthcoming release Aster of Ceremonies (Milkweed Editions, 2023)
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
