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.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
Includes: a classic of innovative computer graphics, ex-pat Scot McLaren on form, a riotous psychedelic oil show with a Soft Machine accompaniment, subtle manipulation of data feedback, a colourful road movie and a reworking of a lost Paul Sharits film.
Veterans of the psych-infused UK free noise scene, the Vibracathedral Orchestra is a hypnotic ur-drone group hailing from Leeds.
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
The 2006 INSTAL festival saw a broad selection of artists that included Blood Stereo and Ludo Mich, Ellen Fullman and Sean Meehan, Keiji Haino and Tony Conrad and a specially created performance by Maryanne Amacher.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
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.
Glasgow based artist Defaalt invites the audience to collaborate fully in his performance by means of a generative graphical interface.
Droner responsible for Fordell Research Unit, Muscletusk’s murk manipulator and Metzian concrete-mixer cement international relations and yr heids.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
