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.
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?
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
Acting at the minimum. Each film here substitutes one small thing for another, (ironically) transforming received meanings by the simplest of actions; often kind of funny too.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
Bringing together artists working with music, sound, film and the moving image, KYTN 2008 saw performances, improvisations, screenings and installations over three days at DCA.
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground music.
A freestyle performed conversation for bodies and voices – with the Queen of Krump, the master of Vogue Femme Dramatics and the rising star of Vogue Women’s Performance.
A multi-media harp and spoken word tribute to the incalculable, the in-deducible, the suspicious static noise that accompanies the voice of truth, and the attempted aberrations in the domain of emergence.
A kind of performed installation of searing noise and silence, where we’re not sure who the performer is, when it starts or ends or even who it’s for.
