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 carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
The role of feelings in public life, (political) depression and creative survival.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
2 days of online discussions and artists presentations exploring the cosmological, decolonial, sensorial practises of Black and Indigenous grass roots art, dance and music collectives in Brazil.
Dois dias de discussões e apresentações online de artistes explorando as práticas cosmológicas, decoloniais e sensoriais de coletivoas de arte, dança e música de base negra e indígena no Brasil.
Includes: a classic of innovative computer graphics, ex-pat Scot McLaren on form, a riotous psychedelic oil show with a Soft Machine accompaniment, subtle manipulation of data feedback, a colourful road movie and a reworking of a lost Paul Sharits film.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
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.
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?
