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.
HEAVY Japanese super group, featuring the sundown delta blues of Kan Mikami, Toshi Ishizuka’s heavy, time folding drumming and Masayoshi Urabe on sax, harmonica and chains.
Black Boned Angel’s is a rock sound, stripped of all extraneous detail right down to its core, stretched out and nailed to the ceiling.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
4 days of performances, discussions, workshops, screenings with mutant dancers, prison abolitionist poets, transfeminist revolutionaries, haunted noise, science fiction, sex worker resistance, crip erotics, radical pornography and militant fiction.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
Chris Corsano, Akio Suzuki and John Butcher performing in the Hamilton Mausoleum, Hamilton.
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
