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.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
Performances of compositions by Jean-Luc Guionnet and others, with Julia Letitia Scott, Iain Campbell F-W, Neil Davidson, Fritz Welch, Liene Rozite, Emilia Beatriz.
A movement-based workshop on Krump and the politics of how we teach, learn and listen with our bodies. Move with us!
Sachiko’s very simple, pure sine tones and structures. Otomo on double pianos. Filament’s music isn’t composed and it isn’t improvised: it’s a hybrid of the two.
A multi-media harp and spoken word tribute to the incalculable, the in-deducible, the suspicious static noise that accompanies the voice of truth, and the attempted aberrations in the domain of emergence.
The role of feelings in public life, (political) depression and creative survival.
Rather than asking the state for services, what kinds of change are made possible when we prioritise people supporting each other?
Includes: street portraits of kids in 1930’s Dakota, a mysterious foggy pilgrimage, a swarm of time-lapsed consumers, a stereoscopic analysis of mill life, up close and personal in a Lighting Bolt mosh pit.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
