Haxan: Witchcraft Through the Ages
Mirror Phantom Engineer
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
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.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Loïc and Marc are proposing a series of investigations into the tension between improvisation and recording and how it can be used to engage with different spaces and environments around Dundee
A preposterously heavy, eye of the storm musical tug of war, in which two drummers, electronics and electric guitar fall over each other in a droning crush.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
Dir. Nicolas Philibert
Documentary of La Borde clinic in France and its radical politics of experimentation, in which residents and staff reciprocate in a kind of entanglement, an opening up amongst themselves.
A performed lecture concerned with Renaissance occult (musical) thinkers of the cosmic who put forward the notion of the “disharmony of the world”
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
Complexly interacting colossal drones by the creator of some of the most legendary yet least heard music of the 70’s.
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
Haino exceeds expectation with a 4 hour solo performance on a collection of more than forty instruments from all over the world.
How can we imagine bodies not as an end in themselves, but as a medium through which we can become one another’s means?