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.
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary listening.
A temporary archive and research space tracing the ways in which sound and audition move through everyday life.
These simple, one-take videos, relate personal experiences to the current conflicts in the Middle East via the most basic of means (a hotel room, a camcorder, John’s personal thoughts, concerns and convictions).
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
Gravitational Feel is an engine for intensifying the differentiation of our entanglement, which you continually reprogramme in the mutual rub, shift and lap of its sonic, wooden, steel, textile and human material.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
Three (thankfully short) chats wherein we try and get at what’s eating us with regards to experimental music, and what we think might be worth salvaging.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
Solo organ performance by German composer Eva-Maria Houben, which focuses on ‘nearly nothing’ to expand the way we listen.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
