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.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
In Ramayya’s visionary poetry, the body assumes as many forms as love produces states: attraction and repulsion, excitement and exhaustion, selfishness and the dissolution of self.
AMM have undoubtedly been among the most important contributors to the UK free improv scene for nearly 40 years and we are extremely proud to be able to be working with such distinguished musicians who still rarely play live in the UK.
Do almost nothing: re-present (unaltered and arranged by chance) silent family home movies handed down to Flo, (Ken’s wife) and follow them with a “teach yourself Yiddish” cassette tape.
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
Profound mathematical ideas for romantics, to help us linger in the difference we share.
Rhodri Davies plays two deconstructed harps. Lee Patterson examines the sonic properties of burning nuts.
During Episode 9 we made this clip with Storyboard P at Kinning Park Complex. Video by Ash Reid.
Greek TV company Onos Productions came to INSTAL 09 to document the festival and report on Nikos Veliotis’ Cello Powder performance.
Relative patterns of occlusion and exposure occupy two screens. Each exposure fires a stroboscopic flash of colour: yellow for one screen; blue for the other, filling the centre of both screens with colour, haloed with after-images.
Simon Morris is joined by Nick Thurston as they attempt to read aloud whilst peddling on exercise bikes.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
