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.
We wanted to ask a bunch of the best high-energy-improvisers around; can musical form really taking shape via a group energy? Can individual concentration lead to a group consciousness?
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
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.
Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.
I wanna be with you everywhere is an everywhere gathering envisioned for and by disability communities and anyone who wants to get with us. IWBWYE returns to Performance Space and any space on June 21 for an outdoor pop-up and hybridized event.
An open conversation hosted by Saidiya Hartman and Fred Moten around ‘fugitivity’ and ‘waywardness’ and what it means to be in flight, excessive or ungovernable.
Live ISDN drone performance resonating between Dundee and an empty Montreal Grain Silo.
Sex worker only Collective Art Workshop led by the Hard Labour project from Scotland for Decrim.
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
