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 recording session for BBC Radio Scotland under the M74 ‘Ski Jump’ extension ramp, a secion of motorway that doesn’t go anywhere, one of several such structures that populate the motorway system in the centre of Glasgow.
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.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
Conceived of as a dual publication, video cassette and booklet, to be presented as an installation. The content of the videotape is the artist watching television.
Light Music is a dizzying celebration of the pivotal nature of sound in film; a direct and powerful transcription of film as sound.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
Percussion used to explore the social construction of space
We asked Christoph to come and give a sort of informal talk, raising some of his ideas about sound and image, and playing/ showing a few examples.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
