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.
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang
CCI Sound system: a performance in which new material will be mixed and phased between two huge PA’s, one a precise Meyer system, the other a huge wall of Marshall amps
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
