SOLITON(E) STAR, RESONANCE REGION 1A [ZERO-TIME SONIC MIRROR]
Catherine Christer Hennix
Complexly interacting colossal drones by the creator of some of the most legendary yet least heard music of the 70’s.
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.
Complexly interacting colossal drones by the creator of some of the most legendary yet least heard music of the 70’s.
In Our Hands is a nine week programme of workshops exploring radical approaches to health and collective care in the movement for liberation and social justice.
One of the most startling cinematic debuts on record, The Flicker is more a hallucination than a film, an out of body experience and riotous celebration of visual harmonics frequencies. An experiment in perception, come with your mind and eyes open.
A public walk from George Square to the Barras market bringing contributions from researchers, activists and artists in a form of live critical praxis
Summer Solstice hang out IRL and URL on 21 June
Jandek’s second ever live performance, and the first to be advertised in advance.
Percussion used to explore the social construction of space
Sound as it is endured by space and the body: 15 participants lie face down and pound the floor with a microphone one thousand times, each person choosing their own rhythm and intensity.
A meditation on how all of us perform — sometimes reinforcing, sometimes subverting — the shifting categories of gender, sexuality and race.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
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.
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?