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 recreation of one of Gustav Metzger’s celebrated auto destructive performances.
Perhaps the paradigm of America’s covert musical subculture, Sun City Girls operate just over the border of raucous delirium.
Sachiko M and Ami Yoshida, two of the most prominent members of the Onkyo movement, place much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid.
A fulcrum to the Japanese noise scene, JOJO Hiroshige has been responsible for much of the explosion of free music coming from Japan in the last 30 years.
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
How do grassroots feminist organisations strategise relationships between mothers, parents, carers and their children based on respect and empowerment, in resistance to the practice of putting children in often the most uncaring of places – care.
I wanna be with you everywhere is an everywhere gathering envisioned for and by disability communities and anyone who wants to get with us. IWBWYE returns to Performance Space and any space on June 21 for an outdoor pop-up and hybridized event.
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
