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.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Beatriz will explore her thinking, on film as translation, plural subjectivity or land-based militancy. Discussion will centre around her work Oriana and its companion piece Oenanthe, which will be screened in full.
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.
The Songspiels take on a mode of musical theatre developed by playwright Bertolt Brecht and composer Kurt Weill in the early twentieth century, presenting political and social concerns through the accessible and (often funny) form of song.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
Long Stringed Instrument performance involving up to 100 wires strung in tension over a 40m arch.
For day two of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by the Vogue’ology collective.
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.
Juliana’s performances chart the dissonant space and discrepancy between the presumed fixed norms of social life and the fluid lived experience those norms don’t allow for.
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
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?
