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.
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
Each organ is unique. The project is to find out what makes it unique.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
As opposed to suggesting soundtrack’s to Brakhage’s works [which are almost entirely silent] Text of Light use his works to stimulate improvisation, enveloping them into the structure of the group much like an additional musician.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
Craig will give a guided reading of his handbook of exemplary instances of literary listening and will be joined by one of the selected authors, Vanessa Place.
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.
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).”
