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.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
Durational group-mind drone and clatter: bamboo, electronics, the contents of your local ironmongers bin. A 3-hour set from this legendary Japanese improvisation group.
Adamantly analogue, inspiring and frequently chaotic in performance, Metamkine draw no distinction between image and sound; during their intuitively improvised performances music and images are created simultaneously and equitably.
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
Transfeminist and revolutionary poetry, voice and timbral abstraction: a sounding and spatialising of reparative sonic and somatic practices that can speak back to violent histories of expropriation and ecocide.
Freeform Super 8mm documentation of Sunday at Instal 06 by filmmaker Matt Hulse.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
