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.
Sachiko M and Ami Yoshida, two of the most prominent members of the Onkyo movement, place much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid.
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
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.
The second of two short film programmes featuring works that blur the boundaries between music and film from artists who cross and redefine those long held divisions. This programme highlights contemporary works.
Complexly interacting colossal drones by the creator of some of the most legendary yet least heard music of the 70’s.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
Freeform Super 8mm documentation of Friday at Instal 06 by filmmaker Matt Hulse.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
