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 celebration of risk taking and adventure from some of the boldest pioneers of the past 40 years, melding avant garde and underground forms of music and moving image to create new experiments and experiences in sight and sound.
A festival hewn from passions for experimental music, film and visual art and for a passion in figuring out how they can relate to, cross-fertilise and inspire and each other.
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
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?).
Acting at the minimum. Each film here substitutes one small thing for another, (ironically) transforming received meanings by the simplest of actions; often kind of funny too.
Freeform Super 8mm documentation of Saturday at Instal 06 by filmmaker Matt Hulse.
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
Open-ended, paradoxical and performed investigations into: misunderstanding, language games, form saturated with sense, and consecutive matters…
Since the 1960’s Oliverios has had a profound influence on generations of musicians through her work with myth and ritual, improvisation and meditation.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.
