Stalled at Universal – Opaque
Opaque
Glasgow. Low-end drone guitarage army in praise of the open chord.
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.
Glasgow. Low-end drone guitarage army in praise of the open chord.
An open-ended moment in an ongoing series of films, notes, performances, diagrams and drawings which trace the questions they share. A “porous space between cinema time-space and lived time-space.”
A conversation and livestream considering a global feminist critique of capital with Silvia Federici, Hortense Spillers and Gayatri C. Spivak.
Three different performances variously featuring: Fritz Welch, loud drums, guitar, local collaborators, paper, memories, Roland Barthes, string quartets
A workshop for educators, activists and young people to think about radical, anti-imperialist pedagogy, and what fighting for the Palestinian cause looks like for young people in the imperial core. PDF of the resource available soon.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
A double bill of A (imageless) film of nothing but a sound recording and its transcription and a found film of news interviews about Malcolm X’s assasination, where the filmmaker decided to add nothing to it, except our attention.
Intriguing, underground, Berlin based musicians interested in the borders between music and theatre, language, the visual arts, politics.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
AVVA sees the internal feedback of Toshi’s no-input mixing desk is fed to Billy, and transformed into bright and variegated patters, striations and blooming colour, before being fed back to Toshi and manipulated on route to the PA.