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.
Craig will give a guided reading of his handbook of exemplary instances of literary listening and will be joined by one of the selected authors, Vanessa Place.
A testimony to poverty from Chris’s own experiences, and an invitation to engage with an all too typical situation and context through a kind of imaginary listening.
The Experimental Improvisers Association of Japan, [EXIAS-J] are a loose collective of musicians and dilettantes who seem to represent an entire and self sufficient scene in one band.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
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.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
