Collective Art Workshop
Scotland for Decrim
Join Sex Workers For Decrim for a sex worker only collective art workshop and be part of creating a massive visual timeline of sex worker resistance in Scotland.
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.
Join Sex Workers For Decrim for a sex worker only collective art workshop and be part of creating a massive visual timeline of sex worker resistance in Scotland.
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
A day of presentations and discussions on the theme of audio visual perception in the context of experimental music, film and art.
A silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop.
4 days of performances, discussions, workshops, screenings with mutant dancers, prison abolitionist poets, transfeminist revolutionaries, haunted noise, science fiction, sex worker resistance, crip erotics, radical pornography and militant fiction.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
A series of reality dramas happening over the course of the weekend.
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Thinking against the monoculturalism of Western thought—of faith, affection, sexuality and gender—which completely lacks any utility to, or descriptive value of Indigenous worldviews.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
Is it possible to dance our way out of the hardened stances and identity prisons we are locked in?