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.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Location: between: the abandoned site of Parker House (ex-council office building) that became a student accommodation regeneration project, off the Dudhope roundabout; Bell Street Car Park entrance ramp and; the awkward (and otherwise used/ used otherwise) space left over between the back of Tesco’s and DW Sports on the Murraygate.
The 2006 INSTAL festival saw a broad selection of artists that included Blood Stereo and Ludo Mich, Ellen Fullman and Sean Meehan, Keiji Haino and Tony Conrad and a specially created performance by Maryanne Amacher.
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Jarringly beautiful and often maniacal expression of hallucinatory and very personal visions.
Artist Derek Lodge running a specially designed social space, somewhere for conversation, story-telling and interaction.
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
A joyful conversation discussing disability, gender transition and care labour as expressions of virtuosic and innovative skills that make care – good care – possible.
A speculative narrative film informed by poetry and theories of quantum entanglement across diasporic distance. An intimate exploration of grief and resistance in shifting landscapes of loss, from the streets to the bed.
‘Ten Pieces in the Form of Painful Variations’ for piano, an impossible score that looks like a grapeshot musical stave, a text of barbed loathing and doubt – an anti-composition.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
