 
Pauline Oliveros & David Dove
David Dove Pauline Oliveros
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
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.
 
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
 
A short chat about what we (Arika) might be trying to do with our program for the Biennial.
 
(Cyber)feminist, non-essentialist transgender and queer daily radio shows using the formula of morning radio as an arch way of thinking about the scripted behaviour and controlled empathy of systematic care.
 
One of the most influential groups in improvised music, with the collective understanding that comes from listening keenly to each other for decades
 
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
 
Solo performance on bass clarinet, jaw harp & voice by Arrington De Dionyso.
 
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
 
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
 
A recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
 
An improvisation that may or may not involve (typical) improvisation.
 
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.