
Andrew Lampert
Andrew Lampert
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
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Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
Koji Asano, Japanese composer and sound-artist performing slow groaning burbling tones, moaning echoes and drones.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
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.
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
To Rococo Rot member Robert Lippok performing for the first time in the UK with his solo project.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
A double bill of A (imageless) film of nothing but a sound recording and its transcription and a found film of news interviews about Malcolm X’s assasination, where the filmmaker decided to add nothing to it, except our attention.
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.