Free-form hook up
Ali Robertson Malcy Duff Seymour Wright
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
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.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
Performances at Anthology Film Archives NY by Jandek, Loren Mazzacane Connors & Alan Licht, and MV & EE.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
Kenneth Goldsmith reads extracts of his conceptual poetry and Achim Wollscheid manipulates mobile phone signals.
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.
Los Glissandinos work with clarinet and sine tones beating and thrumming in your middle ear, all beautifully paced and serene, but with just enough steely menace broiling under the surface to keep you on edge.
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.
We commissioned Radu Malfatti to write a new piece for the 21-piece string section of the Northern Sinfonia: Music striving to discover the exact point at which sound resonates the clearest amidst long drawn out silences.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces