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 series of three short performed situations and statements to be examined or judged from the most interesting young musician in Glasgow (we think).
Jandek’s first ever live performance. Unannounced, the performance was a total surprise for everybody at the festival.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
What is the radical concept at the core of ‘rhythm’, expanded from simply musical or mathematical notions to encompass personal, social, collective rhythms?
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Dr Gabrielle Hodge shares words on Touching the Future, a Protactile project with John Lee Clark, Soline Vennetier, Issy McGrath, Lisa van der Mark, Kyle Bettley and Jordan Goldman, supported by Arika, kickstarting radical DeafBlind Protactile world-building in Glasgow.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
A performed self-cancelling discussion, with artists from the festival, invited speakers and local artists talking at once, over each other, or straining to be heard over the din.
Instead of the one-way monologue of normal performance, what would be the result of an actual collective dialogue? Where would it go?
