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.
Performances at Anthology Film Archives by by Loren Mazzacane Connors, Alan Licht & Jandek.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
Profound mathematical ideas for romantics, to help us linger in the difference we share.
A solo improvisation using just the situation of the concert: a space, a PA, Mattin’s own thoughts, you, the audience.
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
Shutter Interface is an expanded cinema piece: a series of machinegun bursts of chromatic relationships and visual harmonics in an overwhelming montage
The site of the former Abbeyhill Station on the 1903 Leith branch of the Edinburgh and Dalkeith railway, overgrown and leading to as yet un-regenerated ‘wasteland’; taxi’s for 80 people, each instructed to take different routes between locations and; a slice of land concealed behind corporate business park branding off the Wester Approach Rd, apparently of no conceivable use and named ‘Chateaux de Scum’ by those who use it anyway.
Artist Derek Lodge running a specially designed social space, somewhere for conversation, story-telling and interaction.
An audio and video investigation of gender cults, Catholicism, hauntings and nuns’ use of audio devices…
A panel exploring the radical potential of technologies through fugitivity and opacity: their ability to obscure, to make it impossible for us to be known, to render us untraceable by every arm of the state even under the all-consuming spectre of surveillance capital.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
