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 solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
The first performative part in a game of chance and endurance as actor Tam Dean Burn constantly broadcasts for 24hrs.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
Juliana’s performances chart the dissonant space and discrepancy between the presumed fixed norms of social life and the fluid lived experience those norms don’t allow for.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
The 2006 INSTAL festival saw a broad selection of artists that included Blood Stereo and Ludo Mich, Ellen Fullman and Sean Meehan, Keiji Haino and Tony Conrad and a specially created performance by Maryanne Amacher.
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
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.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
