Hermann Nitsch
Hermann Nitsch
A specially commissioned performance for organ. “The course of the stars were to be put to sound.”
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 specially commissioned performance for organ. “The course of the stars were to be put to sound.”
A black hole of dense heaviosity, full of slow motion riffage, tectonic pummel and massive planet destroying rock.
Personal Spaces: inversion of a territorial bell, confusing the realms between rehearsal and performance, public and private space.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
Profound mathematical ideas for romantics, to help us linger in the difference we share.
Three intimate 45 minute sessions, reading your political questions – using Tarot, Palmistry, Reiki, Astrology, and Philosophy, and the invented methods of Fake and Political Therapy.
An open collaborative workshop space in which games, warm-up sessions, exercises and scenes are potentially the same thing, through which to project your own concerns onto the stage.
Voguing, drag, clubbing, and the politics of communities making different performances of gender and sexuality visible.
A sort of prayer and conference, a sort of scream and dialogue – a monologue and declaration at the time, addressing how we can build complicity with one another.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
A 2-day workshop to deconstruct our classed experiences and the ways in which we reproduce the same class system we fight against, in order to create a stronger, more egalitarian Scottish art sector.
Solo organ performance by German composer Eva-Maria Houben, which focuses on ‘nearly nothing’ to expand the way we listen.