Temporary outpost for an auditory figure
Brandon LaBelle
A temporary archive and research space tracing the ways in which sound and audition move through everyday life.
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 temporary archive and research space tracing the ways in which sound and audition move through everyday life.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
Complex ways of understanding our complex times. Maths & Poetics. Gesture & Physics. Collectivist Struggle & Desire. 5 days of performances, discussions, screenings and study sessions.
A 101 panel on sex work in Scotland, hosted by National Ugly Mugs, Sex Workers Union, Scotland for Decrim (Decrim Now) host
Music is full of refracted brass and wind tones, distorted tape loops, dead silent air and the occasional piercing shard of sound.
Folk poet, actor and bon viveur Kan Mikami in duo with Jojo Hiroshige, a founding member of Japanese Noise band Hijokaidan.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
A performance bearing witness to a struggle built upon patience and collective action from the great multi-instrumentalist and member of the AACM.
Paul Sharits’ Shutter Interface is a multi screen installation born of an intent to reveal the material substance of cinema in its purest form: spatially.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?