 
The Borders Play Sunno(((
Christian Kesten Lucio Capece
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
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.
 
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
 
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
 
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
 
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.
 
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
Take a break and/ or hang in an Open Meet Up in IRL and URL
 
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
 
Quintessentially British, The Bohman Brothers’ music is a home-made and DIY conflux of some of the most virulent strains of experimental music.
 
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
 
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
 
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video