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.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
Hartmut is going to talk a little about his work at large and the politics of how his films are constructed. And we’ll screen one of his best films: B-52.
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
A trio of Tamio’s screaming and immovable slabs of sound; Mico’s dance/ performance/ piano; Fritz’s absurd, flailing percussion/ voice.
A recording session for BBC Radio Scotland under the M74 ‘Ski Jump’ extension ramp, a secion of motorway that doesn’t go anywhere, one of several such structures that populate the motorway system in the centre of Glasgow.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
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.”
How do people living with disability see themselves in today’s sexualised culture? How do we imagine our crip sexual selves despite society wanting to reduce us to non-erotic bodies?
