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.
We’ll look at the language and politics of what gets ‘mental health’ and consider more holistic understandings of experiences that honour the connection between mind/body/soul, and that acknowledge social and political context.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Using violin and cello the duo map out a twilight sonic world that seems to tread the faultlines between improvisation and composition.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
Discussion: If we approach “care as an event” rather than as a “contract of exchange” then what becomes possible in how we know, care for, and appreciate each other?
Former street performer, organist, performance artist, circus performer, harpist, accordion player, tree surgeon and tricyclist performing solo.
Performances of compositions by Jean-Luc Guionnet and others, with Julia Letitia Scott, Iain Campbell F-W, Neil Davidson, Fritz Welch, Liene Rozite, Emilia Beatriz.
What does it mean to resist seeking assimilation or inclusion within, or let our demands be co-opted by the very systems we seek to dismantle?
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
Folk poet, actor and bon viveur Kan Mikami in duo with Jojo Hiroshige, a founding member of Japanese Noise band Hijokaidan.
An audio report for the NATOarts board of directors that seeks to promote global security and stability through the exhibition of works of conceptual art.
Three speakers play back pre-recorded sounds, Marc listens and responds: “What is played is the imperfect witness of what I listen to (or maybe better, how I listen).”
