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.
Mirror and Phantom Engineer performing an improvised soundtrack to Benjamin Christensen’s 1922 horror film prototype, Haxan: Witchcraft through the Ages.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
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.
Sci-fi. After the club. Underground. Counter-narrative. Narrated movement. Cultural resistance. Wu Tsang and boychild’s collaborative performance series, will continue its evolution at Episode 9 with the addition of TOTAL FREEDOM.
Droner responsible for Fordell Research Unit, Muscletusk’s murk manipulator and Metzian concrete-mixer cement international relations and yr heids.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
Renouncing the bind of the written word, Chopin’s sound poetry is a magical evocation of the pure powers of the voices, stripped bare of language.
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.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
