
In The Shadow of Shadow – Walk
The Strickland Distribution Ultra-red
A public walk from George Square to the Barras market bringing contributions from researchers, activists and artists in a form of live critical praxis
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 public walk from George Square to the Barras market bringing contributions from researchers, activists and artists in a form of live critical praxis
Voguing, drag, clubbing, and the politics of communities making different performances of gender and sexuality visible.
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
Argument is a provocative, multi-layered film essay, a trenchant analysis of the media and remains a critically relevant and critically inflammatory tract.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
A public gathering that brings together local artists, musicians, activists, and community organisers.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
Lo-fidelity sheets of parinirvanic mangled tone get driven into oblivion by two longstanding gurus of the Northern England primitivist noise.
How do communities practice being one another’s means, addressing their material problems facing them replicating the state’s violent logic of who is disposable.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.