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.
An original and beautifully simple performed installation forging a direct link between sound and image.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
This event honoured those individuals who achieved the status of Icon during the period of 1986-1990.
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
Gravitational Feel is an engine for intensifying the differentiation of our entanglement, which you continually reprogramme in the mutual rub, shift and lap of its sonic, wooden, steel, textile and human material.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
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.
Kanta is a young Japanese artist with a home-made, short circuited take on electronics and physical phenomena which he uses in performance to produce close circuit systems of audio / video feedback.
A panel exploring the radical potential of technologies through fugitivity and opacity: their ability to obscure, to make it impossible for us to be known, to render us untraceable by every arm of the state even under the all-consuming spectre of surveillance capital.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
