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.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
Akio Suzuki and John Butcher performing in an abandoned oil tanker on Hoy.
Real-time video feedback loops submerged in laminal sheets of sound soaked in gauzy timbral detail and multi-valenced, buzzing overtones.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
5 days of film, music, discussion and study of our collective incompleteness—arrayed against the colonial ordering of how we come to know the world—practicing how we might exist otherwise, right here and now. Can we start to know and practice the world to come?
Loïc and Marc are proposing a series of investigations into the tension between improvisation and recording and how it can be used to engage with different spaces and environments around Dundee
Exploring the interplay between punk sinewave aggression, high-speed video sequences and stroboscopic lighting
Laser beam sine tones used to draw delicate, abstract patterns by vibrating charcoal, placed atop of a great strip of paper running through the gallery; beautiful, fragile sound-created autonomous drawing.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
Whether drawing their own fractured, abstract narrative, or re-contextualising, chewing up and spitting out someone else’s, each of the films here take a dramatic arc as their starting point and throw it to the wind.
