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 socio-poetic reading on wayward communities – The wayward create upheavals, incite tumult. They come and go as they please; they are fugitive; they are in open rebellion against society.
Joan La Barbara presents works exploring the colour spectrum of a single pitch resonating in her skull, an evocation of bird song and circular singing.
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
Sonic ‘observations’ of the world, through micro recordings on a tiny scale and transformed into something musically compelling.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Take a break and/ or hang in an Open Meet Up in IRL and URL
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.
Disused railway turning circle at east end of Union Terrace Gardens, a historically public space at the centre of a regeneration land-grab for the private gain of a local petro-chemical magnate.
Inspired by Delany’s Aye, and Gomorra. A spookily filmic world where asexual bodies live in the contradiction of their unarousable loneliness and desire for intimacy and contact.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
