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.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
How do grassroots feminist organisations strategise relationships between mothers, parents, carers and their children based on respect and empowerment, in resistance to the practice of putting children in often the most uncaring of places – care.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
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?
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
As opposed to suggesting soundtrack’s to Brakhage’s works [which are almost entirely silent] Text of Light use his works to stimulate improvisation, enveloping them into the structure of the group much like an additional musician.
‘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.
One of the most compelling Indigenous voices of her generation discusses practices of Indigenous Resurgence drawn from Nishnaabeg poetic knowledge.
