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 recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
Inspired by Delany’s Aye, and Gomorra. A spookily filmic world where asexual bodies live in the contradiction of their unarousable loneliness and desire for intimacy and contact.
A workshop inviting participants to enact a series of scores that explore witnessing, testimony, grief and mourning, facilitated by Mezna and Sadia, and accompanied by Sakina Ali.
Edinburgh. Nigh-inaudible improv jams with disabled instruments from the makers of Giant Tank and Pizza Boy Delivery.
A Feral Choir of people who’ve never improvised with their voices before, conducted by improviser yodeller, composer Phil Minton.
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.
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
As part of Karrabing’s visit to Scotland, the collective will be hosted for three days in the Isle of Skye by The School of Plural Futures.
The role of feelings in public life, (political) depression and creative survival.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
