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.
Vanessa Place talks at The Friday Event series at the Glasgow School of Art about her practice as a writer.
Everyday objects and materials (rubber bands, paper, a sink, microphones) disabused of their inertia and made to speak for themselves in a kind of focusing in on the tiny, repetitive, almost unobserved (sonic/ visual) potential of everyday things put into motion.
A bodiless treatise on narration, bored speakers, audience misbehaviour and police megaphones, but: is anybody listening?
Hijokaidan rapidly built a following due to the overwhelmingly physical intensity of their live performances, often involving destructive onstage rituals of vomit, urine, mangled guitars and ear shredding volume.
For day one of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by George E. Lewis.
Performance of a Sudoko based graphic score giving rise to a process of self cancellation.
A prison abolitionist punk video-poetry-music mash up about our fucked-up dystopian society, RoboCop, kids toys and criminality.
From really simple, open instructions, An Unrhymed Chord creates a kind of half-way point between composition and improvisation.
Out of a dark haze, shafts of lights are picked out from the surface of film. Out of the black silence, noise, audible scratches bloom into a bright drone of broken and cracked objects.
A chill sex worker only breakfast hang, hosted by Scotland for Decrim, with delicious vegan, vegetarian, meaty, gluten free options & fresh coffee. (Both present & past lived experience welcome).
A dense materialist experience at the limits of contemporary computer music, drawing on Korean Shamanism and Communism; striving to create a strange new vibration to the world that seems to contain the seed of everything.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
