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 fulcrum to the Japanese noise scene, JOJO Hiroshige has been responsible for much of the explosion of free music coming from Japan in the last 30 years.
Reading their letters to each other, and chatting about prefigurative politics as the practice of relentlessly building worlds through unspeakable violence and loss; of building worlds and living in them anyway.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
An original and beautifully simple performed installation forging a direct link between sound and image.
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
AMM have undoubtedly been among the most important contributors to the UK free improv scene for nearly 40 years and we are extremely proud to be able to be working with such distinguished musicians who still rarely play live in the UK.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
What’s the best way to spend time with a musician when they visit a city to perform? And when the musician in question has a great deal to say, what sort of concert do you organise to do justice to that?
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
