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.
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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
Avant-wrongdoers Blood Stereo performing in Garthamlock the town spawned them.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
All welcome to a weekend of sex worker resistance and joy! Workshops, talks and visual art, hosted by Scotland for Decrim.
A collaborative social justice project that uses art, activism and awareness to combat the systemic oppression facing young, trans, queer & gender nonconforming people of colour.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
Taking a scalpel to the relationship between performer and audience: cutting something out to see what’s left, a drastic subtraction and shift of emphasis.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
A programme looking at landscape, filmic or architectural spaces and at how the fixed stare of a camera frame only captures so much reality; here we focus on how filmmakers structure our relationship with that reality and at how they relate it to or interpret it through sound.
