INSTAL 01
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
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.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
A Festival supporting the struggle for Sex Workers’ Rights: share knowledge, discuss, dance and strategise!
A crash-course in pre-figurative, radical, queer, anti-racist, anti-police, anti-prison, anti-deportation abolitionist politics and trans-resistance.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
Two figureheads of the minimalist electronica pulse, Ikeda and Nicolai have been responsible for some of the most innovative and ground-breaking music of the last decade, redefining experimental electronica.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”