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.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
A socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.
Austrian guitarist who specialises in a warm digital deconstruction of guitar noise
An open conversation around the history and practices of the Ueinzz Theatre Company – a radical Brazilian schizoscenic theatre company of carers, so-called psychotic patients and philosophers.
Umeda is a Japanese artist who is as fascinated in setting up interesting situations to observe, as he is in creating performances.
A live installation of the ‘Film Ist’: projected on 4 huge screens and an improvised soundtrack from 4 figureheads of the Austrian experimental music scene.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
Three panels offering opportunities to discuss how to build stronger alliances between the sex workers’ rights, migrants rights and reproductive justice movements and how to face, together, an increasingly punitive and reactionary system.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?
