
Iain Campbell
Iain Campbell F-W
A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
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A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
Location: Around and about the old public library in Easterhouse; disinvested in and left to rot by the council but which was shamelessly, hastily and superficially cleaned by them in expectation of our event.
Nikos played every note that it’s possible to play on the cello, all played back as a one hour drone, while the cello was turned to powder and bottled.
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?
Goofily deformed, deeply thought vocal jams: like the sound of your own breath rushing through your head.
Inspired by Delany’s Aye, and Gomorra. A spookily filmic world where asexual bodies live in the contradiction of their unarousable loneliness and desire for intimacy and contact.
A new interpretation of Kosugi’s Catch-Wave, producing a cloud of fluctuating, hypnotic drones, in front of a backdrop of projected waves.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
4 days of workshops, discussions and artists presentations exploring the radical act of caring for each other while working to change the world.
An audio/ video, lecture/ performance exploring the queer and companionly inter-activity of human-animal relations.
A system in which film is projected onto copper strips, captured again and then re-projected as video, somehow transforming the original imagery into molasses-slow, molten and incredibly tactile flickers of colour and light.