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.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?
Our favourite Lancashire-born autodictact asks what’s political about the tension between the individual and the collective in free jazz.
Performances of compositions by Jean-Luc Guionnet and others, with Julia Letitia Scott, Iain Campbell F-W, Neil Davidson, Fritz Welch, Liene Rozite, Emilia Beatriz.
Performing with hand built radio transmitters, which react to interference in the atmosphere and the electrical impedance of his hands, his radio art is a form of social practice; a statement in opposition to mass media.
The reknowned artist Kjell Bjørgeengen works collaboratively with innovative musicians to make complex installations. Channels of flickering light are produced in response to and from sound.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
Chip will read some of his great literary pornography, which pushes sexuality to the point of extremity and exhaustion.
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?
