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.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
A kind of an informal overview of INSTAL.
One of the most incessantly experimental musicians in the UK, Youngs’ aesthetic is entirely unique, never really part of any scene [whilst influencing many], steadfastly unafraid and honest
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
Guitar and voice. Keening, droning and mourning. Be ready to release and bring your dis-ease.
Dundee. Progressive rhythmical guitar squall vs. post-highland discorporate dusk-jockey.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
Join activists, academics and artists as they reflect on abolitionist praxis and thought, exploring covergences with gender, poetry, technology, performance, speculation, aesthetics, film and culture. This series of events commemorates Black August and is for anyone who wishes to answer the abolitionist call to action and thought.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
