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.
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
Three intimate 45 minute sessions, reading your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
A trance inducing, flickering investigation of structural and minimalist droning from one of the key thinkers in sound and image over the last 50 years
For day five of Ultra-red’s project, the investigation will review the previous work undertaken together, and perhaps draw up a summary of reflections and pose some future questions.
We commissioned Radu Malfatti to write a new piece for the 21-piece string section of the Northern Sinfonia: Music striving to discover the exact point at which sound resonates the clearest amidst long drawn out silences.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
Ken Jacobs chats to Edwin Carels: Edwin is a curator based in Ghent, responsible for some fantastic programmes of experimental film and art at the Rotterdam Film festival (amongst others).
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
A conversation between influential figures thinking through Blackness and Indigeneity, asking: what if we took seriously the possibility that this world, as we know it, may be coming to an end? We dread the loss of this world, but have we begun to imagine the one to come?
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
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?
