Not Going Back to Normal
Arika is proud to be one of several arts organisations in Scotland supporting the commissioning of a radical new manifesto, by and for disabled artists working in Scotland.
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.
Arika is proud to be one of several arts organisations in Scotland supporting the commissioning of a radical new manifesto, by and for disabled artists working in Scotland.
An improvisation that may or may not involve (typical) improvisation.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
The Truth and Lies book project emerges as part of a rising tide of sex worker art and organised struggle to end criminalisation and stigmatisation of sex work.
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?
Miniscule free-noise hissy-fits and broken instrument scrape/ squeal jams from the fools what brought you Giant Tank.
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
Dave will lead a session created for teenagers and designed to stimulate a supportive environment for artistic exploration through music improvisation.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
West Coast drone-age guitar grumbler/ consumer electronic reclaimer meets free-thinking clang/ chime/ drone bluesman of The East.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?