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.
An audio report for the NATOarts board of directors that seeks to promote global security and stability through the exhibition of works of conceptual art.
For musical chameleon Richard Youngs both his creative and family life are focused in the room that many of us consider the centre piece of our lives.
Wave Formations is a 5 screen work in which each screen runs through a series of fades and then stroboscopic flashes of colour, to create a series of visual harmonics.
Offering a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves. Expect fire and a little bit of smoke. Concluding with a D/deaf centered social space with conversational interpreters available for those who do not speak ASL.
Conceptual writer and practicing lawyer Vanessa Place performs and talks with Mark Sanders, author of the brilliant “Complicities: The Intellectual and Apartheid”
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Akio Suzuki and John Butcher performing in an abandoned oil tanker on Hoy.
Hartmut led “a workshop in the old-fashioned way of discussion, mutual exploration of ideas and samples; trying out what can be shared and where the fault lines show.”
Juliana’s performances chart the dissonant space and discrepancy between the presumed fixed norms of social life and the fluid lived experience those norms don’t allow for.
Dundee. Progressive rhythmical guitar squall vs. post-highland discorporate dusk-jockey.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
Guy Sherwin gives a kind of annotated, chat through his optical sound films
