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.
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
INSTAL’s third outing saw performances by AMM, Cosmos (Sachiko M & Ami Yoshida), Voreboms, Vibracathedral Orchestra with Matthew Bower and John Godbert, Paragon Ensemble, Merzbow and Ryoji Ikeda.
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
TEST is a collective creative improvising quartet based out of the NYC Underground (figuratively and literally). Their street-hardened, spatial Jazz is riotous and intense: is also makes us think about collective organization, and different ideas of responsibility and liberty.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
Solo organ performance by German composer Eva-Maria Houben, which focuses on ‘nearly nothing’ to expand the way we listen.
