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.
Akio Suzuki and John Butcher performing in a large multi chambered industrial ice house.
Acoustic turntable, engines, trumpet and accordion joined by Bassist Magarida Garcia: build long-form quietly detailed pieces that clatter and rumble, that expand and contract with the tension and release of deeply held breath.
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.
Trio vocal performance of a score by Achim Wollscheid with Aileen Campbell, Junko and Dylan Nyoukis.
Location: between: the abandoned site of Parker House (ex-council office building) that became a student accommodation regeneration project, off the Dudhope roundabout; Bell Street Car Park entrance ramp and; the awkward (and otherwise used/ used otherwise) space left over between the back of Tesco’s and DW Sports on the Murraygate.
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.
A Feral Choir of people who’ve never improvised with their voices before, conducted by improviser yodeller, composer Phil Minton.
Multiple images, glimpses of old films, abstract images in the midst of an electro-acoustic sound field of tape loops & analogue synthesizers
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
An evening of live performances, readings & saucy rococo cakes celebrating the launch of Truth and Lies – An Anthology of Writing and Art by Sex Workers.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
