Stalled at Universal – Una MacGlone, Peter Nicholson & Aileen Campbell
Aileen Campbell Peter Nicholson Una MacGlone
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
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.
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
An evening extravaganza celebrating the London launch of Truth & Lies: an Anthology of Writing and Art by Sex Workers
Expect slutty DJs, playful performances, stripper poles, rococo cakes, union broads and intimate readings…
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
A slowed down single tracking shot along a corridor as workers at the Bath Iron Works, (Maine, USA) take their lunch break.
Ecstatic, scalding and ludicrously heavy, nobody matches Incapacitants for live noise energy. One of the most exhilarating live acts in underground music.
An audio/ video, lecture/ performance exploring the queer and companionly inter-activity of human-animal relations.
In this workshop we will imagine ourselves as time travellers from a glorious and chaotic neurodivergent-led future.
Electronic music, time, thought, the word, and consecutive matters
Come for the crip ingenuity; stay for the smooth feels of what it is to be each other’s everything.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?