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.
Can our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
“I am truly without faith. In a media marketplace that demands soulness, I can only offer soulnessless.”
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Brain boiling duo improvisation by great Japanese no input mixing desk pioneer Toshi Nakamura and french organ philosopher Jean-Luc Guionnet.
Sachiko M and Ami Yoshida, two of the most prominent members of the Onkyo movement, place much more emphasis on sound texture than on musical structure, distilling elements of techno, noise, and electronic music into a unique hybrid.
Nothing if not repetitive, film is founded on the incremental succession of minute difference. But how does repetition of the same play out, and is it a tool to comment on the standardising repetition of the mass media?
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
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.
A celebration of the release of four books written by members of, and focused on about the House and Ballroom scene.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
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?
