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.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
A performance, a radio show, an installation, an endurance test. A game of chance. Constantly broadcasting live, actor Tam Dean Burn will leave Tramway at the start of INSTAL and walk away from it, in an ever increasing spiral, for a day. Then he’ll walk back.
Join Scot-PEP, SWARM and Decrim Now for a day of panel discussions focusing on: sex worker’s labour rights, how decriminalisation can help in the struggle for sex worker safety, sex work & migration with a film screening of Crossings.
In true reality television style, this in-depth artist talk will tackle all the hardest-hitting questions and juiciest details about care, creative collaboration, and disability justice.
A historical narrative of the black and latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to its artistic practices.
Paul Sharits one of the great experimental, sometimes called structuralist / materialist, filmmakers of the 20th Century.
HEAVY Japanese super group, featuring the sundown delta blues of Kan Mikami, Toshi Ishizuka’s heavy, time folding drumming and Masayoshi Urabe on sax, harmonica and chains.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Rare UK performance by legendary Japanese post punk group during their 4 drummers + synth / vocals phase.
Blood Stereo & Ludo Mich: linking past and present generations of DIY intuitive expression in a post fluxus ‘big mess’.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
