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 recreation of one of Gustav Metzger’s celebrated auto destructive performances.
Each of these films addresses place, landscape or location and the personal reaction to their magical or concrete properties. Watch out for Kren’s structural, throbbing investigation of a forest and Baillie’s intimate and humble essay on a blind guitarist and the relationship between songs of Mexican revolutionaries and the people and places they looked to inspire.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
The weeks previous TLRS daily radio shows, after-hours conversations, radio booths and special guests reassembled as a live electroacoustic performance.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
By focusing on the things that most people don’t notice or pass by uncaring – Steve Roden crafts gentle, sparse and metaphorically loaded compositions.
Performances at St Giles in the Fields, London by Jandek, Rhodri Davies & Angharad Davies, Rauhan Orkesteri.
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.
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.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
