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 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).
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
Bruno’s liberated improvisational approach stretches beyond the lyrical, tough as nails rhythmic bursts and expressive, swinging attack of his drumming.
A kind of audience activating, structured film guessing game in the manipulation of time, sound and image. “At 11:15, weiners. At 21:05, pornography. At 23:30, a duet. Watch the Clock.”
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
An immersive environment where sound is looped through oscillators, radio, guitar pick-ups and video amps to create dense strobing images and colours
Criminal Queers visualises a radical trans/queer struggle against the prison industrial complex, working to abolish the multiple ways our hearts, genders, and desires are confined.
A movement-based workshop on Krump and the politics of how we teach, learn and listen with our bodies. Move with us!
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Jumping off from Sun Ra’s thoughts on evil, and the Alien films, this performance will explore how the sociality Sondra wants to visualise and participate in has no interest in respectability.
Goodwin’s writing emanates from the social life of poetry, from a condition of entanglement before historically racially-specific forms of representation. Another word for this emanation is breath.
