
What is the Sound of Freedom?
Ultra-red
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
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.
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
Arrive, get settled, be hosted and meet-up in IRL and URL.
Ten short intimate one-on-one conversations with Robert Softley Gale – We all want to see ourselves reflected in the world around us—in society, in art, in culture… in porn?
An informal conversation, over breakfast, about how abolition and movement work structures Mijke and Nat’s approach to transfeminism, ahead of their new book Trans Femme Futures.
One-shot sonic portraits of 4 houses, their inhabitants and their relationship to sound, from 2 of the most deep-thinking field-recording artists around.
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.
Quintessentially British, The Bohman Brothers’ music is a home-made and DIY conflux of some of the most virulent strains of experimental music.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?