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.
Noise music for the eyes: projectors turned into instruments, B&W film loops into a thrumming riot of colour, motion and sound.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
A festival hewn from passions for experimental music, film and visual art and for a passion in figuring out how they can relate to, cross-fertilise and inspire and each other.
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
A spectacular musical show which discusses the representation of a nation state, its characters and history. A learning play on myth construction and its reproduction.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
