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 saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
A landmark film on black life – a poetic filmic constellation of meditations, fragments and interviews on what it means to be black in America in the 21st century, from one of its great cinematographers.
Durational group-mind drone and clatter: bamboo, electronics, the contents of your local ironmongers bin. A 3-hour set from this legendary Japanese improvisation group.
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
Some of the most breathtaking, delicate and smoke filled guitar playing this side of Loren Connors or the quieter sides of Keiji Haino.
Fernando thinks that when maths is deep, it should be simple and able to be explained by hand gestures. By embodying ideas, we’re able to more clearly think about their cultural implications.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
A mixture of investigation groups, live performances, screenings and installations at DCA; the festival looked to strip back music, sound, film and moving image to their core ideas and explore them with artists and audiences.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
Guy Sherwin gives a kind of annotated, chat through his optical sound films
