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.
Rather than asking the state for services, what kinds of change are made possible when we prioritise people supporting each other?
“Hidden in the hands an alluvial transcription of reach and embrace. The final flickers of the body’s expression, caress and touch.” – boychild
A chat with Eugene Thacker. Can we rethink the world as unthinkable, and without us?
An extravagant debauch of plush toys and ritual. Palestine performed a version of Strumming Music, a trance inducing investigation into overtone systems achievable on a Bosendorfer Imperial Piano.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
An evening of live performances, readings & saucy rococo cakes celebrating the launch of Truth and Lies – An Anthology of Writing and Art by Sex Workers.
UNINSTAL was a set of events at Tramway that tested out radical ideas with leading local and international artists. A collection of events (performances, films, installations, walks and talks) about sound and listening.
Jandek performing at the Scottish Rite Theatre in Austin, Texas with Juan Garcia, Nick Hennies and Chris Cogburn.
A Feral Choir of people who’ve never improvised with their voices before, conducted by improviser yodeller, composer Phil Minton.
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.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
