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.
ACCESS: SOUND FILE A day-long salon accompanying KYTN focusing on sound art.
No Wave, damaged garage jams and crazed instant vocal shrieks.
An immersive live performance for multiple 16mm film and bass clarinet, taking in the whole gallery, submerging the audience.
Join Ståle Holgerson to discuss his new book Against the Crisis, hosted by Glasgow Housing Struggle Archive
Kylie Minoise Vs Nackt Insecten feedback/ vocal physical threat ‘vs’ ecstatic electronic cloudbursts
Join activists, academics and artists as they reflect on abolitionist praxis and thought, exploring covergences with gender, poetry, technology, performance, speculation, aesthetics, film and culture. This series of events commemorates Black August and is for anyone who wishes to answer the abolitionist call to action and thought.
A panel exploring the radical potential of technologies through fugitivity and opacity: their ability to obscure, to make it impossible for us to be known, to render us untraceable by every arm of the state even under the all-consuming spectre of surveillance capital.
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
Simon Morris is joined by Nick Thurston as they attempt to read aloud whilst peddling on exercise bikes.
I wanna be with you everywhere was a gathering of, by, and for disabled artists and writers and anyone who wanted to get with us for a series of crip meet-ups, performances, readings and other social spaces of surplus, abundance and joy.
Morgan Fisher is a filmmaker of great wit and charm who uses the tools of experimental film to dissect the basic presuppositions of commercial cinema.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
