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.
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
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?
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
First in a series of workshops for workers and non-workers who care. Does work that asks us to be attentive to the needs of others force us to sell our capacity for kindness?
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
Ever changing coven of feedback worshipping witches led by Blood Stereo/ Smack Music 7 shrieker Karen Constance spit audio hexes through yr skulls.
Coming to us from Taipei, Yo-Yo sends us elsewhere while bringing us back with her to the timezone of tomorrow. A dancer, media artist, and choreographer who makes multi-dimensions and realms, Lin’s amplification of energies and connections across bodies devolves the separations we are taught to abide.
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.
