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.
Akio Suzuki and John Butcher performing in a large multi chambered industrial ice house.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
A historical narrative of the black and Latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to race, gender, sexuality and class oppressions.
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
Nat Raha and Mijke van der Drift undertake two intensive writing residencies at Scottish Sculpture Workshop in Lumsden and Hospitalfield in Arbroath.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
