
Pascal le Gall
Pascal le Gall
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
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.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
If life is assaulted by power, where do we find spaces for living? A conversation with Peter Pál Pelbart.
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
Akio Suzuki and John Butcher performing in an old underground reservoir in Fife.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary listening.