Haxan: Witchcraft Through the Ages
Mirror Phantom Engineer
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
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.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Jean-Luc Guionnet will be giving a talk as part of the music department’s ongoing series of colloquia.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
Join Umbrella Lane and special guest migrant trans sex workers in a community discussion about the points of intersection in LGBT people’s rights and sex worker’s rights.
A discussion about what is at stake in the performance of realness and the practice of passing, and how they are both acts of survival and resistance.
French improviser, composer, writer & musical thinker of dry humour and elegant clarity. Sly conjurer of music from the unconsidered processes of music making.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
Performances at Anthology Film Archives NY by Jandek, Loren Mazzacane Connors & Alan Licht, and MV & EE.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?