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.
“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.
A fulcrum to the Japanese noise scene, JOJO Hiroshige has been responsible for much of the explosion of free music coming from Japan in the last 30 years.
Wordless, reverb drenched voice, ghosted electronics, seething and ferocious electronic damage and Patty Waters style vocal mania.
Edinburgh. Cask-strength electrohypnol and shroom damaged folk croonings by Lapsed Electronics empire builder.
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
An original and beautifully simple performed installation forging a direct link between sound and image.
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
The site of the former Abbeyhill Station on the 1903 Leith branch of the Edinburgh and Dalkeith railway, overgrown and leading to as yet un-regenerated ‘wasteland’; taxi’s for 80 people, each instructed to take different routes between locations and; a slice of land concealed behind corporate business park branding off the Wester Approach Rd, apparently of no conceivable use and named ‘Chateaux de Scum’ by those who use it anyway.
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
What to do about a telethon other than fuck it up? Poet, tarotist, artist, and librarian Cyrée Jarelle Johnson returns to IWBWYE to read the 1980s and ’90s for what those decades were: practice for now.
The program of composed music including Feldman’s Instruments III, Ligeti’s piece for 100 Metronomes Poeme Sympathetique, and Rebonds B by Iannis Xenakis.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
