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.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Jarrod Fowler creates a social space where layered one-to-one live encounters with the audience become sonic material.
In rethinking the body, the law, the state, gender, race, violence, care and empathy, how we might give humanness a different future?
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
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.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
Terry is one of the most entertaining and unpredictable musicians in the London free improvising music scene. Rhodri Davies extends his instrument under a battery of techniques creating sound colours and textures quite alien to the harp.
Three workshops lead up to an open invitation to improvise with the festival as concert. The last four hours of the Sunday 14 at Instal 10 were devoted to presentations devised during the three workshops. The material conditions (time, space, facilities…) were the instruments. From there anything could happen.
A preposterously heavy, eye of the storm musical tug of war, in which two drummers, electronics and electric guitar fall over each other in a droning crush.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
