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 kind of performed installation of searing noise and silence, where we’re not sure who the performer is, when it starts or ends or even who it’s for.
A system in which oscillators shake The Arches, seismographs pick up the harmonics that are then amplified through massive sub-bass PA.
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
Munehiro Narita’s Kyoaku No Intention (Worst Intentions) fired out some of the most compelling no-wave improvised rock of the 80s.
Captures the creak and rustle of the forest, with an exhilarating tension let loose in unconfined maniacal and bare-knuckle group thinking.
Opening with one of the most memorable shots ever filmed, and screened a year after the initial successes of the 2011 Egyptian revolution, Too Soon, Too Late is a search for the traces left on the landscape of past revolutions in France and Egypt.
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.
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.
Arrive, get settled, be hosted and meet-up in IRL and URL.
With Taku we’ll carry out some simple proposals for doing almost nothing, for re-thinking sound with whatever comes to hand.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
