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.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
A public gathering that brings together local artists, musicians, activists, and community organisers.
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.
Part old-fashioned Renaissance man, part hardcore avant-gardist, the Canadian painter-photographer-filmmaker-musician gives full vent to his genius in the exhilarating perceptual vaudeville, named after the ‘central region’ of tissue that acts as a conduit between the brain’s two hemispheres.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
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.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
