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.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
Inspired by Delany’s Aye, and Gomorra. A spookily filmic world where asexual bodies live in the contradiction of their unarousable loneliness and desire for intimacy and contact.
Why won’t the idea of the particle or individual go away? Is the measurement problem in physics a documentary film issue? What can a human be without its crutches of life-time and measure?
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?
The Cube is a 6 hour performed installation in which sound and image are treated as independent but equal, where musicians and filmmakers sit alongside each other, improvise to and feed off both projected image and amplified and acoustic sound.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
Radical transfeminism aims to hold the space for finding relations between the ruins of the everyday. Emerging from the debris, spaces for politics find form as poetics to carry understandings, actions and be/longings.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
The production of moving image (film) by the mechanically, unfalteringly repetitive manipulation of mass-produced materials (film), in order to explore three different allegorical representations (films) of repetitive human actions and labour under capital.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
