
La Cellule d’Intervention Metamkine
Metamkine
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
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.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
A kind of an informal overview of INSTAL.
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
A performed, open, public conversation about how we might think politics from the position of intuition, in which Denise and Valentina use un-reasonable tools to map out a hybrid poetical/ ethical reading of their own situations.
A dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
There exist places in our towns and cities that are created not by design, but by circumstance. Shadowed Spaces was a tour of overlooked, bypassed and unconsidered nooks and crannies with 3 musicians.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?