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.
Simple maths and stringent scored instructions move precise frequencies and clicks to create a dense, fluctuating environment of standing waves and physical sound.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
Do ideas emerging from particle physics help to re-think of blackness as a mode of life in which it’s possible to practice difference without separation?
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
A collaborative performance where sound and image are created, performed and mediated by light, water and glass.
A three-day celebration surveying all manner of diverse musical activities, which at their core share a basic kinship: one of exploration and the discovery of musical expresssion.
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.
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?
