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.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
Glasgow based artist Defaalt invites the audience to collaborate fully in his performance by means of a generative graphical interface.
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
Three intimate 45 minute sessions, reading your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
In Ramayya’s visionary poetry, the body assumes as many forms as love produces states: attraction and repulsion, excitement and exhaustion, selfishness and the dissolution of self.
A film installation as both allegory and investigation of The Rockridge Institute and their research into ‘framing’ and the use of metaphor within political discourse.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
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.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
