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.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
The final iteration of Arika’s INSTAL festivals, the 2010 edition was an experimental festival of experimental music – 3 days of events at the Tramway that explored un-average ideas about sound and music.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
First in a series of workshops for workers and non-workers who care. Does work that asks us to be attentive to the needs of others force us to sell our capacity for kindness?
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
A panel exploring the radical potential of technologies through fugitivity and opacity: their ability to obscure, to make it impossible for us to be known, to render us untraceable by every arm of the state even under the all-consuming spectre of surveillance capital.
Free jazz pianist John Blum with an everywhere-at-once presence in duo with Jackson Krall, incendiary free jazz drummer and sound sculptor
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
