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.
One of the great experimental films. A 60 minute, three part riddle that maybe approximates our intellectual development by moving from imageless words to the recognition of silent images and the learning of simple tasks and finally a serenity and acceptance of death.
A panel exploring the poetics of abolition. “Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change.”
Sadia Shirazi & Mezna Qato will discuss a series of scores that explore the texture and landscape of exile, resistance, and Muslim sociality. These instructional scores trouble the idea that art and activism are untouched by faith and faith is untouched by art and activism.
A system in which oscillators shake The Arches, seismographs pick up the harmonics that are then amplified through massive sub-bass PA.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
The worlds leading radio art station brings you: a performance, a radio show, an installation, an endurance test.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
