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What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
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.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
One-shot sonic portraits of 4 houses, their inhabitants and their relationship to sound, from 2 of the most deep-thinking field-recording artists around.
A series of badly felted lock-ups and garages + multiple locations within the Megastructure – a purpose built town centre in one building, comprising (in the 50’s at least) of housing (never occupied), shops, apartments, a hotel, ice rink, police station and other amenities
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
In Ramayya’s visionary poetry, the body assumes as many forms as love produces states: attraction and repulsion, excitement and exhaustion, selfishness and the dissolution of self.
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
Miniscule free-noise hissy-fits and broken instrument scrape/ squeal jams from the fools what brought you Giant Tank.
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.
Paul Sharits is one of our all time heroes, and one of the great artist filmmakers of the 20th Century.
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves