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.
Improvising violinist Angharad Davies performing with pianists Tisha Mukarji and Andrea Neumann.
Haunted by the archive of the New Cross Fire, Jay Bernard presents a film and poetry reading that undertakes a queer exploration of black British history, reconstructed from archives and apparent debris.
A poetic multi-screen performance about “the inadequacy of the arbitrary passing moment and the impossibility of permanence”. About time and change.
A conversation between Philip and Moten: how do we read NourbeSe’s anti-narrative poetic lament in Glasgow today, given the city’s role in the history of slavery?
Ian and Gil will host a discussion on the Argument project’s social and political commentaries, and with you try and maybe think through whether and how they might still have some currency today: what’s changed and what’s stayed the same?
A collaboration bringing together artists with a shared gravitational heft to their work; an intense and concentrated accumulation of detail and power.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Solo performance on bass clarinet, jaw harp & voice by Arrington De Dionyso.
Formed as a means to realise William Bennett’s goal of “a sound that could bludgeon an audience into submission”
