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.
CCI Sound system: a performance in which new material will be mixed and phased between two huge PA’s, one a precise Meyer system, the other a huge wall of Marshall amps
A guitar solo of frugal wringing, of notes in the dark, an attitude of making everything count.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
This programme takes human subjects as the focus for sound and image construction. And it includes a couple of masterpieces of experimental film: Paul Sharits’ deeply empathetic interpretation of epilepsy and Peter Kubelka’s Webern inspired abstract portrait of Arnulf Rainer.
Julius’ “small music” features simple snatches of found sound, played back through small speakers, often set in bowls of pigment and dirt which shimmies in the vibrations.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
An original and beautifully simple performed installation forging a direct link between sound and image.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
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?
