Free-form hook up
Ali Robertson Euan Currie Fritz Welch
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
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.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
Taking The Futurist Cinema’ manifesto and turning it into software to track ‘aluminium’ online, tracing relationships companies with interests in aluminum had to each other and other agencies.
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
A series of reality dramas happening over the course of the weekend.
Heat-mapped bodies, found porn films, Korean psyche-folk, creepy police intrusion and self-defence.
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.
Somewhere between performance, stripped down theatre and an intense kind of public learning or maybe even a public hearing.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?