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.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
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.
Slowly evolving ultra-subtle harmonics and multi-tracked, otherworldly drones that only reveal their true power at high volume.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
For day three of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Nancy Nevárez.
Vajra are a Japanese psychedelic rock supergroup, hewn from the collective consciousness of Fushitsusha’s Keiji Haino, folk radical Kan Mikami and percussionist Toshiaki Ishitsuka.
The role of feelings in public life, (political) depression and creative survival.
Ever wondered about the roadside festoons which are the innards of discarded cassette tapes? All will be revealed in this methodical and insightful documentary by UK luminary John Smith and sound artist cohort Graeme Miller.
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.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
