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.
A simple, gracefully bold set-up to allow Loïc to trace connections: of comments upon comments upon comments, of sounds next to sounds next to sounds.
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.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
Now a two day festival, INSTAL 04 was borne of a desire to open eyes, challenge audiences and expand musical horizons. This was also the year in which a certain representative from Corwood Industries made his first ever live appearance.
Veterans of the psych-infused UK free noise scene, the Vibracathedral Orchestra is a hypnotic ur-drone group hailing from Leeds.
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
Sex worker only Collective Art Workshop led by the Hard Labour project from Scotland for Decrim.
The Truth and Lies book project emerges as part of a rising tide of sex worker art and organised struggle to end criminalisation and stigmatisation of sex work.
There exist places in our towns and cities that are created not by design, but by circumstance. Shadowed Spaces was a tour of overlooked, bypassed and unconsidered nooks and crannies with 3 musicians.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
