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.
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
Paul Sharits one of the great experimental, sometimes called structuralist / materialist, filmmakers of the 20th Century.
Each of these films addresses place, landscape or location and the personal reaction to their magical or concrete properties. Watch out for Kren’s structural, throbbing investigation of a forest and Baillie’s intimate and humble essay on a blind guitarist and the relationship between songs of Mexican revolutionaries and the people and places they looked to inspire.
AMM have undoubtedly been among the most important contributors to the UK free improv scene for nearly 40 years and we are extremely proud to be able to be working with such distinguished musicians who still rarely play live in the UK.
The 2006 INSTAL festival saw a broad selection of artists that included Blood Stereo and Ludo Mich, Ellen Fullman and Sean Meehan, Keiji Haino and Tony Conrad and a specially created performance by Maryanne Amacher.
Freeform Super 8mm documentation of Sunday at Instal 06 by filmmaker Matt Hulse.
What is happening when systems of repression try to grasp communities’ ways of being, living or surviving, applying laws of sexuality, gender or race to cast them as criminal?
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.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
