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.
As part of Karrabing’s visit to Scotland, the collective will be hosted for three days in the Isle of Skye by The School of Plural Futures.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
Rare UK performance by legendary Japanese post punk group during their 4 drummers + synth / vocals phase.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
A performance of Ueinzz’s new play. Each Ueinzz performance is a process of reinvention, between exhaustion and a fleeting vision: singular, collective, anonymous, plural, suspensive, intensive, unworking life.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
