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.
Improvising using nothing so much as the passage of time as his instrument, Basinski creates works of great melancholic depth and fragile beauty.
Minimal details and otherworldly glistening drones, rich with sustained metallic timbres that breathe with the scrapped pulse of bowed metal.
Freeform Super 8mm documentation of Saturday at Instal 06 by filmmaker Matt Hulse.
A sound diffusion piece by Glasgow University’s Musica Electronica, and a further selection of electroacoustic performances.
A delicate and detailed walk through the urban and rural landscape around Dundee; a poetic focus on the details found. A performance for 16mm projection and live amplified objects (maybe pine cones, maybe a coke bottle).
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
A specially commissioned performance for organ. “The course of the stars were to be put to sound.”
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.
In true reality television style, this in-depth artist talk will tackle all the hardest-hitting questions and juiciest details about care, creative collaboration, and disability justice.
West Coast drone-age guitar grumbler/ consumer electronic reclaimer meets free-thinking clang/ chime/ drone bluesman of The East.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?
What would have happened in 1963 if someone from the voguing ball scene going on in Harlem had travelled downtown to perform alongside the early postmoderns at Judson Church?
