Ruins & Ian Halliwell
Ian Helliwell
Giants of the Japanese avant-rock scene Ruins are a hardcore prog rock bass + drums duo led by drummer extraordinaire Tatsuya Yoshida and joined in Dundee by Sasaki Hisashi.
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.
Giants of the Japanese avant-rock scene Ruins are a hardcore prog rock bass + drums duo led by drummer extraordinaire Tatsuya Yoshida and joined in Dundee by Sasaki Hisashi.
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
Take a break and/ or hang in an Open Meet Up in IRL and URL
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
Where we join Nackt Insecten’s disembodied spectral howls and heavyweight locomotive drones about SPT’s Subway.
A community of those without community, for a community to come. A schizo-scenic video-collage of the disturbing ‘normality’ of Moby Dick.
How do we make the connections between the mutual aid practices of our daily lives and anti-capitalist efforts to dismantle wider systems of exploitation?
Although Tony had visited Haino in Japan, and they played together in private, this was the first time anyone other that Haino’s cat saw them perform together.
Reveling in the geometric, mathematical and perceptual relationship between sound and form, this programme features a landmark work of experimental film in Kubelka’s Arnulf Rainer; a complex, enduring and expressive of structuralist or flicker films.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.