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.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Do ideas emerging from particle physics help to re-think of blackness as a mode of life in which it’s possible to practice difference without separation?
Four perspectives from people involved in different anti-capitalist and anti-racist struggles, considering how ideas of ‘ending’ have shaped their political thinking and praxis.
Expansive and considered, inclusive and deeply human minimalism: Antoine Beuger, Radu Malfatti, Manfred Werder.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
With lo-fi dreams and high-def humor, Bande brings MC vibes to the day. Interluding music with spoken performance, the live extimacy of Bande’s presence reaches out via emo-techno-bridges.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
