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.
A joyful conversation discussing disability, gender transition and care labour as expressions of virtuosic and innovative skills that make care – good care – possible.
A mixture of investigation groups, live performances, screenings and installations at DCA; the festival looked to strip back music, sound, film and moving image to their core ideas and explore them with artists and audiences.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
A kind of performed installation of searing noise and silence, where we’re not sure who the performer is, when it starts or ends or even who it’s for.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
