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.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
Includes: a polish counting lesson, around NYC with D A Pennebaker, a portrait of a tower block, a man with a spade, at home with KYTN regular Guy Sherwin, a cinematic Blair Witchish cut-up and a song for some swings.
A recording session for BBC Radio Scotland under the M74 ‘Ski Jump’ extension ramp, a secion of motorway that doesn’t go anywhere, one of several such structures that populate the motorway system in the centre of Glasgow.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
Is there a link between the ways we’re caged and exiled by the prison-industrial complex and the ways people’s bodies are violently categorised and segregated by race, class, gender or ability?
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
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.
Copying without Copying is 3 evenings of events that are about what happens when we speak, or when we hear someone speak on our behalf, when we share a collective moment of hearing and maybe understanding.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
A parody of a (Manhattan) road movie and meditation on bifurcation, in paths traveled between the seen and the heard; a road trip played over and over from different perspectives.
African American history, avant-garde jazz riffs and activism intertwine in experimental verse of extraordinary and affecting beauty that has to be heard.
