
Jarrod Fowler
Jarrod Fowler
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
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.
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
With lo-fi dreams and high-def humor, Bande brings MC vibes to the day. Interluding music with spoken performance, the live extimacy of Bande’s presence reaches out via emo-techno-bridges.
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
A festival asking how ideas of nihilism, darkness, subjectivity and abjection play out in experimental music, performance art, horror, neuroscience and philosophy?
Looking at and listening to different ideas about sound and music, INSTAL 09’s collection of artists included Tetsuo Kogawa, vocalist Joan La Barbara, Phil Minton (and his Century FC feral choir), Austrian Actionist Hermann Nitsch, Steve McCaffery and many more.
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.
Quartet improvisation by Klaus Filip – laptop, Radu Malfatti – trombone, Sean Meehan – snare & cymbals, Taku Unami – rice and dish.
A loud, buzzing stew of electrical light as noise and convulsive electric guitar squall.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours