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.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
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.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
A performative survey of listening, as we managed to find it being used as a tool in different practices, disciplines and communities in North America (music, poetry, film, philosophy, activism…).
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
‘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.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
