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 meditation on how all of us perform — sometimes reinforcing, sometimes subverting — the shifting categories of gender, sexuality and race.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Our Zooms are unmuted, our mics are open, and our hearts and bodyminds are receptive. We give the floor online and in person to you…
“Beginning where you and me ends, where we don’t so much come but are already here.” Join James and Nisha to talk about breath, erotics and flesh, about our social, poetic cosubstantiality.
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
The site of the former Abbeyhill Station on the 1903 Leith branch of the Edinburgh and Dalkeith railway, overgrown and leading to as yet un-regenerated ‘wasteland’; taxi’s for 80 people, each instructed to take different routes between locations and; a slice of land concealed behind corporate business park branding off the Wester Approach Rd, apparently of no conceivable use and named ‘Chateaux de Scum’ by those who use it anyway.
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
During Episode 9 we made this clip with Storyboard P at Kinning Park Complex. Video by Ash Reid.
Leading language/ action/ sound poet performed his groundbreaking concrete poem, a dizzying mandala of text, symbols and rubber stamps; a kind of book as reading machine.
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
