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.
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
This set continues on from the Bud Neill inspired clatter using the contents of the Usurper twin’s pockets.
For musical chameleon Richard Youngs both his creative and family life are focused in the room that many of us consider the centre piece of our lives.
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.
Free jazz pianist John Blum with an everywhere-at-once presence in duo with Jackson Krall, incendiary free jazz drummer and sound sculptor
A temporary archive and research space tracing the ways in which sound and audition move through everyday life.
An open collaborative workshop space in which games, warm-up sessions, exercises and scenes are potentially the same thing, through which to project your own concerns onto the stage.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
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.
Solo performance by Diamanda Galás one of the great artists of the last forty years. Hers is an emotional expressionism of demonic shrieks, operatic falsettos, glottal clicks and diabolical growls.
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
