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.
An open collaborative workshop space in which games, warm-up sessions, exercises and scenes are potentially the same thing, through which to project your own concerns onto the stage.
An utterly deep introspection told in aching, weeping guitar lines; melodic, simple, always minimal but somehow entirely epic.
Screening of films by Duvet Brothers, David Critchley, David Hall, John Latham, Judith Goddard, Mike Leggett, Tony Sinden
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
Ubuntu Women Shelter, National Ugly Mugs and the Sex Workers Union warmly invite you to a generative conversation (and Q&A) about the needs and rights of migrant sex workers in Scotland.
Ever wondered about the roadside festoons which are the innards of discarded cassette tapes? All will be revealed in this methodical and insightful documentary by UK luminary John Smith and sound artist cohort Graeme Miller.
A conversation and livestream considering a global feminist critique of capital with Silvia Federici, Hortense Spillers and Gayatri C. Spivak.
What would a world and an ethics look like free from the destructive consequences of the Western mind?
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
