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.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
A freestyle performed conversation for bodies and voices – with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
Julius’ “small music” features simple snatches of found sound, played back through small speakers, often set in bowls of pigment and dirt which shimmies in the vibrations.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
Chip’s written some of the greatest of all Sci-Fi and Fantasy—page turning character driven diamond-hard novels and short stories: each a lens that refracts our real-life struggles and desires.
A performed lecture concerned with Renaissance occult (musical) thinkers of the cosmic who put forward the notion of the “disharmony of the world”
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
