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.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
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.
Coming to us from Taipei, Yo-Yo sends us elsewhere while bringing us back with her to the timezone of tomorrow. A dancer, media artist, and choreographer who makes multi-dimensions and realms, Lin’s amplification of energies and connections across bodies devolves the separations we are taught to abide.
Usurper luddite twins’ disabled instruments play a game of pick-up-sticks with the deconstructed horn of a young Derby opponent.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
Psychedelic and intense, and featuring some of the most visually stunning, mesmerizing and transcendent experiences you can imagine, batten down the hatches for some of the boldest, most immersive and abrasive works in experimental cinema.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
Christian Bök‘s work spans thrillingly conceptual poetry to body-shaking vocal performances.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
