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.
Free Jazz group comprising Matt Lavelle, Matt Heyner (TEST, No-Neck Blues Band) and Ryan Sawyer (Tall Firs).
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
Andrew Chalk & Christoph Heemann return with their diaphanous, impressionistic drone duo; their slowly evolving and enthralling works flutter and quiver with elegantly restrained, miniature sound events.
Summer Solstice hang out IRL and URL on 21 June
Can our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?
All ticket income goes directly to We Will Rise – a group of migrants, refugees, asylum seekers and their allies who have come together to End Immigration Detention in the UK.
Includes: solar flares, insect fireworks, a new film from Ian Helliwell, pulsating glaciers, an apple being eaten alive, sea ravaged stock, crushed blackberries and film that has literally risen from the grave.
GIO’s bottomless throat, Blood Stereo’s slobber gobbler and the Mouth Of The South tangle tonsils over Steve McCaffrey’s Carnival
With lo-fi dreams and high-def humor, Bande brings MC vibes to the day. Interluding music with spoken performance, the live extimacy of Bande’s presence reaches out via emo-techno-bridges.
A live installation of the ‘Film Ist’: projected on 4 huge screens and an improvised soundtrack from 4 figureheads of the Austrian experimental music scene.
An excavation of the 1805 Lock Hospital in Glasgow. Its official function was to support ‘unfortunate females with venereal disease’, but really what happened was that women and girls were marched in, experimented on, and often never released.
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?
