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.
The role of feelings in public life, (political) depression and creative survival.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
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.
Real-time video feedback loops submerged in laminal sheets of sound soaked in gauzy timbral detail and multi-valenced, buzzing overtones.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
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?
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
