Ken Hollings Talk
Ken Hollings
A talk entitled ‘The Conquest of the Universe’: which delves into the connections between the underground filmmakers and musicians in New York in the early 1960s
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.
A talk entitled ‘The Conquest of the Universe’: which delves into the connections between the underground filmmakers and musicians in New York in the early 1960s
 
In this interactive workshop, Dean Spade, author of Mutual Aid, will share key principles, explore common challenges in mutual aid work, and offer tools for working through them.
 
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
 
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
 
Chris Corsano, Akio Suzuki and John Butcher performing in the Hamilton Mausoleum, Hamilton.
 
A recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
 
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.
 
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
 
A system in which oscillators shake The Arches, seismographs pick up the harmonics that are then amplified through massive sub-bass PA.
 
Bleu Shut reveals, and allows us to enjoy, our gullibility within the pervasive absurdity of modern life.
 
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
 
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?