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.
A chat, with examples (Zola, H. P. Lovecraft, Hammer Horror), about blackness and the sheer stupid thickness of what has no profundity whatsoever.
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.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
Three (thankfully short) chats wherein we try and get at what’s eating us with regards to experimental music, and what we think might be worth salvaging.
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.
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
In this welcoming first session we will look at the basics of using plant medicine – things you might have in your kitchen or easily to hand. We will introduce preparation methods, contraindications, dosages & remedies for common ailments.
Shutter Interface is an expanded cinema piece: a series of machinegun bursts of chromatic relationships and visual harmonics in an overwhelming montage
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
