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 dance party love letter to our community, expressing the joy of relation in the abstract and through actual physical proximity.
A performed reflection on Malin’s previous re-enacting of a super influential landmark of performance art from the French feminist and artist Gina Pane.
Talk charting the radical history of experimental music in Japan + the lowdown into the careers of many of the artists appearing at MLFC.
Three panels offering opportunities to discuss how to build stronger alliances between the sex workers’ rights, migrants rights and reproductive justice movements and how to face, together, an increasingly punitive and reactionary system.
A performance for projectionist, musicians and audience, which plays with references to Oscar Levant and Gershwin: apparently a series of small doses of chaos.
A public walk from George Square to the Barras market bringing contributions from researchers, activists and artists in a form of live critical praxis
For this one off performance Vibracathedral Orchestra are joined by Matthew Bower and John Godbert from mighty UK heavy/drone/psych free-noise behemoths Skullfower, Sunroof! and Total.
Cardboard boxes, metal guitar, critical homage, attempts to describe things you can’t describe. A one-man Grand Guignol school play.
Dir. Nicolas Philibert
Documentary of La Borde clinic in France and its radical politics of experimentation, in which residents and staff reciprocate in a kind of entanglement, an opening up amongst themselves.
Originally billed as a duo of Ingar Zach and Derek Bailey, John Butcher stood in for Bailey at the last minute.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
