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.
This event honoured those individuals who achieved the status of Icon during the period of 1986-1990.
Summer Solstice hang out IRL and URL on 21 June
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.
An improvised film about our worlds at the brink, on the edge, in front of a crisis. To stand on the side of life, by seeing the resistance to genocide in Palestine as a turning point to overcome.
Nat Raha and Mijke van der Drift undertake two intensive writing residencies at Scottish Sculpture Workshop in Lumsden and Hospitalfield in Arbroath.
The Tower performance at KYTN throws into that mix the 70’s fluxus light shows and films of Jeff Perkins and other filmic interventions tuned to their unique frequency.
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.
A historical narrative of the black and Latino/a transgender, bisexual, lesbian, and gay House and Ballroom Scene in relation to race, gender, sexuality and class oppressions.
Jandek’s first ever live performance. Unannounced, the performance was a total surprise for everybody at the festival.
Two figureheads of the minimalist electronica pulse, Ikeda and Nicolai have been responsible for some of the most innovative and ground-breaking music of the last decade, redefining experimental electronica.
How do communities formed under the duress of violent othering and the joy of solidarity – such as ballroom culture, Black diasporas, Zapatistas – reform bonds of kinship?
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?
