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.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
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.
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
The final iteration of Arika’s INSTAL festivals, the 2010 edition was an experimental festival of experimental music – 3 days of events at the Tramway that explored un-average ideas about sound and music.
Investigate film as language, via the language of film reduced to the basic units of film and language. A film as text in which each frame is a single word.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
