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.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
In Ramayya’s visionary poetry, the body assumes as many forms as love produces states: attraction and repulsion, excitement and exhaustion, selfishness and the dissolution of self.
A mixture of investigation groups, live performances, screenings and installations at DCA; the festival looked to strip back music, sound, film and moving image to their core ideas and explore them with artists and audiences.
A talk entitled ‘The Conquest of the Universe’: which delves into the connections between the underground filmmakers and musicians in New York in the early 1960s
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Percussion used to explore the social construction of space
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
Dave will lead a session created for teenagers and designed to stimulate a supportive environment for artistic exploration through music improvisation.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
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.
