
Notes on the Emptying of a City
Ashley Hunt
A dismantled, performed film, where a narrator pieces together the sounds, images and storytelling of a documentary about Hurricane Katrina before a live audience.
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 dismantled, performed film, where a narrator pieces together the sounds, images and storytelling of a documentary about Hurricane Katrina before a live audience.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Edinburgh. Cask-strength electrohypnol and shroom damaged folk croonings by Lapsed Electronics empire builder.
A 101 panel on sex work in Scotland, hosted by National Ugly Mugs, Sex Workers Union, Scotland for Decrim (Decrim Now) host
Live ISDN drone performance resonating between Dundee and an empty Montreal Grain Silo.
A celebration of our overabundant social entanglement and complicity, that remind us of how we can see ourselves, stripped of powers’ attempts to grasp us.
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
Ten short intimate one-on-one conversations with Robert Softley Gale – We all want to see ourselves reflected in the world around us—in society, in art, in culture… in porn?
Akio Suzuki and John Butcher performing in a remote sea cave near Durness.
When we look, how do we objectify the body; how can we reflect on our (self) image as a construction?
Investigating the border between the audible and the visible means looking at the margins, the edges of creativity where artists test out new boundaries and define them anew.
How do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?