 
Free-form hook up
Ben Knight Hannah Ellul Neil Davidson
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
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.
 
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
 
Underlying radical transfeminism, as an urgent critique of binary essentialism and fixed identities, is the call for a new kind of thinking that can move between and integrate the truths of all lives in their transformations.
 
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
 
Includes: tamed TV snow, video feedback of racing particles, a remake of a polish photogram film destroyed in WWII, a visual and aural representation of Gestalt theory, hole-punched film and Guy Sherwin’s Cycles 3 double-projection.
 
Michael Colligan pressing white hot metal into dry ice, causing the metal to sing and scream.
 
For day four of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Fred Moten.
 
Kylie Minoise Vs Nackt Insecten feedback/ vocal physical threat ‘vs’ ecstatic electronic cloudbursts
 
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
 
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
 
Stripping back the domesticated ‘meaning’ of (everyday, mundane, kitchen) tools to reveal “a lexicon of rage and frustration.” Plus an allegorical use of mundane, everyday things as an examination of how meaning is constructed in film.
 
An improvisation that may or may not involve (typical) improvisation.
 
An open-ended moment in an ongoing series of films, notes, performances, diagrams and drawings which trace the questions they share. A “porous space between cinema time-space and lived time-space.”