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 dialogical meeting of Baraka’s radical poetry and Grimes’ free jazz syncopation.
HEAVY Japanese super group, featuring the sundown delta blues of Kan Mikami, Toshi Ishizuka’s heavy, time folding drumming and Masayoshi Urabe on sax, harmonica and chains.
Loïc and Marc are proposing a series of investigations into the tension between improvisation and recording and how it can be used to engage with different spaces and environments around Dundee
A sound of buzzing and flickering metallic drones, glottal stops and guttural growls, and also an explosiveness and purity of sound that reminds you as much of Bill Dixon as anyone else.
In which Storyboard P and members of Project X pick a song, freestyle to it, chat with us about what dancing means to them, then pick another song, freestyle, chat, repeat…
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
Power-electronic klutz behaviour indecipherable blasphemies, cuts, bruises and broken microphones by Kovorox Sound head-honcho Lea Cummings.
A performance for dry ice and four specially constructed steel tables, each one heated by a single candle until searingly hot.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
Morgan Fisher is a filmmaker of great wit and charm who uses the tools of experimental film to dissect the basic presuppositions of commercial cinema.
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
