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.
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 performed, open, public conversation about how we might think politics from the position of intuition, in which Denise and Valentina use un-reasonable tools to map out a hybrid poetical/ ethical reading of their own situations.
Felix Hess is a unique crosser of the boundaries between science and art. He wrote his doctorial thesis on the aerodynamics of the boomerang
Veterans of the psych-infused UK free noise scene, the Vibracathedral Orchestra is a hypnotic ur-drone group hailing from Leeds.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
The final iteration of Arika’s INSTAL festivals, the 2010 edition was an experimental festival of experimental music – 3 days of events at the Tramway that explored un-average ideas about sound and music.
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.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
