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.
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
A panel exploring the poetics of abolition. “Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change.”
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Nat Raha and Mijke van der Drift undertake two intensive writing residencies at Scottish Sculpture Workshop in Lumsden and Hospitalfield in Arbroath.
An original and beautifully simple performed installation forging a direct link between sound and image.
Has neoliberal capitalism locked down social experience? Are our seemingly subjective desires, our identities, pre-packaged by dominating social structures?
Birthed from the collective stagger in global consciousness of the late 50’s and 60’s, this programme celebrates epochal, groundbreaking films that all address sound in their own way and that have opened pathways to experimentation.
Loïc and Marc are proposing a series of investigations into the tension between improvisation and recording and how it can be used to engage with different spaces and environments around Dundee
Brother and sister stumble over the early morning horizon in a spectral haze of emotionally devastating lunar vocals and oblique, lithium-soaked folk.
Ken Jacobs chats to Edwin Carels: Edwin is a curator based in Ghent, responsible for some fantastic programmes of experimental film and art at the Rotterdam Film festival (amongst others).
Sex worker only Collective Art Workshop led by the Hard Labour project from Scotland for Decrim.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
