
A Plot, A Scandal
Ligia Lewis
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
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.
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
Discussion with David Keenan: an author, critic and musician based in Glasgow, Scotland. He is best known for the reviews and features he has contributed to The Wire.
This programme is a celebration of Charlemagne Palestine; passionate, extravagant, visceral. Including two sections from Ritual dans le Vide, an extension of his ‘running camera’ works of the 70’s and Pip Chodorov’s vibrant workout of a live version of Strumming Music.
A live installation of the ‘Film Ist’: projected on 4 huge screens and an improvised soundtrack from 4 figureheads of the Austrian experimental music scene.
A glance at both analogue and digital processes; the clarity and precision of digital colour or the yawning, endless depth of dye and emulsion, our programme celebrates how both approaches revel in colour, saturation, hue and tone.
Glasgow based contemporary music group Paragon Ensemble performing an improvisation with Pete Dowling, Nick Fells, Robert Irvine and others.
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
Social and party with all proceeds going to the Unity Centre, featuring DJ SETS with Dj@Christelle, DJ D-Harsh, Nena Etza & Moor Mother.
A double bill of Morgan Fisher films that ask what can be achieved by a simple structural method of commenting on scraps of 35mm film, re-shot on 16mm film and what happens to meaning (if anything) when ‘insert shots’ are relieved of their original duty of providing crucial plot development for a variety of other movies?
A performed self-cancelling discussion, with artists from the festival, invited speakers and local artists talking at once, over each other, or straining to be heard over the din.