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.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
The mutability of the body and the mobility of identity: queered pop culture, drag, lip-sync and performance.
Includes: a £20 note, stock fluctuations, an examination of words in the video medium, a linguistic challenge for your mind, a frame by frame dissection 50 words, shop front poetry, image and language head to head and newspapers under the microscope.
Freeform Super 8mm documentation of Friday at Instal 06 by filmmaker Matt Hulse.
For this day-long festival, sex workers and their allies from New York, the tri-state area, and Europe will gather at MoMA PS1 to debate, perform, dance, strategize & share knowledge.
Looking at and listening to different ideas about sound and music, INSTAL 09’s collection of artists included Tetsuo Kogawa, vocalist Joan La Barbara, Phil Minton (and his Century FC feral choir), Austrian Actionist Hermann Nitsch, Steve McCaffery and many more.
Leading language/ action/ sound poet performed his groundbreaking concrete poem, a dizzying mandala of text, symbols and rubber stamps; a kind of book as reading machine.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
Now a two day festival, INSTAL 04 was borne of a desire to open eyes, challenge audiences and expand musical horizons. This was also the year in which a certain representative from Corwood Industries made his first ever live appearance.
Ken presents his Nervous Magic Lantern, wherein film itself is forsaken for an investigation of hypnotic and trancelike crystaline forms. Eric La Casa works with recordings of everyday occurrences: the background hum of place.
A poetic multi-screen performance about “the inadequacy of the arbitrary passing moment and the impossibility of permanence”. About time and change.
