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 loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
Transfeminist and revolutionary poetry, voice and timbral abstraction: a sounding and spatialising of reparative sonic and somatic practices that can speak back to violent histories of expropriation and ecocide.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
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.
Philip Jeck creates slowly evolving symphonies that are as much about the crackling hiss of old vinyl as the actual ‘musical’ material.
A sound diffusion piece by Glasgow University’s Musica Electronica, and a further selection of electroacoustic performances.
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
