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.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
2 days of online discussions and artists presentations exploring the cosmological, decolonial, sensorial practises of Black and Indigenous grass roots art, dance and music collectives in Brazil.
Dois dias de discussões e apresentações online de artistes explorando as práticas cosmológicas, decoloniais e sensoriais de coletivoas de arte, dança e música de base negra e indígena no Brasil.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
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.
A sound of buzzing and flickering metallic drones, glottal stops and guttural growls, and also an explosiveness and purity of sound that reminds you as much of Bill Dixon as anyone else.
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.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
For musical chameleon Richard Youngs both his creative and family life are focused in the room that many of us consider the centre piece of our lives.
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
