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.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
Kanta is a young Japanese artist with a home-made, short circuited take on electronics and physical phenomena which he uses in performance to produce close circuit systems of audio / video feedback.
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground music.
Reveling in the geometric, mathematical and perceptual relationship between sound and form, this programme features a landmark work of experimental film in Kubelka’s Arnulf Rainer; a complex, enduring and expressive of structuralist or flicker films.
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
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.
“The miracle of Herman Melville is this: that a hundred years ago in Moby Dick…he painted a picture of the world in which we live, which is to this day unsurpassed.” – C. L. R. James
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.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
