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.
A full-blooded, emotional attempt to reinvigorate improvisation from a musically inclined philosopher and two philosophically inclined improvisers.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
“The miracle of Herman Melville is this: that a hundred years ago in Moby Dick…he painted a picture of the world in which we live, which is to this day unsurpassed.” – C. L. R. James
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
Miniscule free-noise hissy-fits and broken instrument scrape/ squeal jams from the fools what brought you Giant Tank.
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
Artist Derek Lodge running a specially designed social space, somewhere for conversation, story-telling and interaction.
A cast of pioneering spirits over an expanded three day festival including Jandek (one year on from his first ever show at INSTAL 04), JO-JO, Tetuzi Akiyama,Tom Bruno, Pauline Oliveros, a legendary Hijokaiden performance and Henri Chopin.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
CCI Sound system: a performance in which new material will be mixed and phased between two huge PA’s, one a precise Meyer system, the other a huge wall of Marshall amps
There are core ways in which our listening to the radio differs from other kinds of listening. What happens when we pay attention to how we pay attention?
