Sgàire Wood
Sgàire Wood
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
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 somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Quintessentially British, The Bohman Brothers’ music is a home-made and DIY conflux of some of the most virulent strains of experimental music.
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
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.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
Percussion used to explore the social construction of space
A programme of discontinuity between narration, text and image. Including Manual Saiz’s employment of John Malkovich’s Spanish dubbing double and Peter Rose’s absurdly hilarious concrete poetry subtitling chaos.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
How do we sense entanglement? Can the knotting of ropes according to a poem’s rhythm make the social pulse of language matter?