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.
I wanna be with you everywhere is an everywhere gathering envisioned for and by disability communities and anyone who wants to get with us. IWBWYE returns to Performance Space and any space on June 21 for an outdoor pop-up and hybridized event.
A collaborative duo performance, Anoyonodekigoto sets up a sort of negotiation between a musician, a dancer, the audience and the space we’re all sharing.
A cast of pioneering and provocative spirits who exist outside the mainstream, between borders and definitions; a series of events that each explore different aspects of music that doesn’t quite fit any given category. INSTAL 08 included the Self-Cancellation project.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
Deliberately blurred drones, absent of definite structure or rhythm, framed in silence and devoid of any distraction from the pure matter of sound.
Simple maths and stringent scored instructions move precise frequencies and clicks to create a dense, fluctuating environment of standing waves and physical sound.
No Wave, damaged garage jams and crazed instant vocal shrieks.
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?
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
Real-time video feedback loops submerged in laminal sheets of sound soaked in gauzy timbral detail and multi-valenced, buzzing overtones.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
