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.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
Italian duo of brothers Maurizio and Roberto Opalio utilising an array of acoustic and electric guitars, various toy-instruments and toy-microphones.
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
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.
Arika is proud to be one of several arts organisations in Scotland supporting the commissioning of a radical new manifesto, by and for disabled artists working in Scotland.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
US percussionist, poet, sound artist and instrument maker performing on self-made instruments constructed from industrial materials such as stainless steel, titanium, PVC plastics and various kinds of pipe.
The Truth and Lies book project emerges as part of a rising tide of sex worker art and organised struggle to end criminalisation and stigmatisation of sex work.
Glasgow. Low-end drone guitarage army in praise of the open chord.
Craig will give a guided reading of his handbook of exemplary instances of literary listening and will be joined by one of the selected authors, Vanessa Place.
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.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
