Steffen Basho-Junghans
Steffen Basho-Junghans
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
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.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
A trance inducing, flickering investigation of structural and minimalist droning from one of the key thinkers in sound and image over the last 50 years
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
How do we make the connections between the mutual aid practices of our daily lives and anti-capitalist efforts to dismantle wider systems of exploitation?
Blood Stereo & Ludo Mich: linking past and present generations of DIY intuitive expression in a post fluxus ‘big mess’.
Sax/Drums duo of raucous, pealing noise, and cries of beguiling lyricism, whispered sax phrases float in a timbral cloud of bowed metal and rumbling toms.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
How do communities formed under the duress of violent othering and the joy of solidarity – such as ballroom culture, Black diasporas, Zapatistas – reform bonds of kinship?
5 days of film, music, discussion and study of our collective incompleteness—arrayed against the colonial ordering of how we come to know the world—practicing how we might exist otherwise, right here and now. Can we start to know and practice the world to come?
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.