Decriminalised Futures
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
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.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
A silent performance of (musical) reverberation.
Freeform Super 8mm documentation of Friday at Instal 06 by filmmaker Matt Hulse.
A series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
Black-clad with an ominous aura created by their distorted guitar epics, burnt-out ballads and raucous mantric jams.
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
We commissioned Radu Malfatti to write a new piece for the 21-piece string section of the Northern Sinfonia: Music striving to discover the exact point at which sound resonates the clearest amidst long drawn out silences.
I wanna be with you everywhere was a gathering of, by, and for disabled artists and writers and anyone who wanted to get with us for a series of crip meet-ups, performances, readings and other social spaces of surplus, abundance and joy.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
Audio signals pass through light bulbs, causing the filaments of the bulbs to sing and crackle in a chorus of electronic static.
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?