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.
An audio and video investigation of gender cults, Catholicism, hauntings and nuns’ use of audio devices…
Glasgow based artist Defaalt invites the audience to collaborate fully in his performance by means of a generative graphical interface.
Four perspectives from people involved in different anti-capitalist and anti-racist struggles, considering how ideas of ‘ending’ have shaped their political thinking and praxis.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
For day three of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Nancy Nevárez.
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery
A celebration of the release of four books written by members of, and focused on about the House and Ballroom scene.
Folk poet, actor and bon viveur Kan Mikami in duo with Jojo Hiroshige, a founding member of Japanese Noise band Hijokaidan.
We commissioned Radu Malfatti to write a new piece for the 21-piece string section of the Northern Sinfonia: Music striving to discover the exact point at which sound resonates the clearest amidst long drawn out silences.
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.
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.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
