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.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
Sean and Taku share an interest in structure, space and time. A spartan, abstract, considered and surprisingly musical set.
A panel exploring how to dismantle the master’s house — its material edifices and ideological architecture — and the construction of abolitionist futures in the present.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
We commissioned Radu Malfatti to write a new piece for the 21-piece string section of the Northern Sinfonia: Music striving to discover the exact point at which sound resonates the clearest amidst long drawn out silences.
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
Sound and image slipping out of synch and into discord, the programme includes (in London at least) a very special version of Hollis Frampton’s masterful (nostalgia) with a live narration by Michael Snow.
Boston duo of saxophonist Bhob Rainey and trumpeter Greg Kelley approach their improvisations with a slew if extended techniques and pregnant silences.
A space to reflect on our own experiences with the police and explore more community and care-based ways of dealing with violence and difficulties in our lives.
Includes: a £20 note, stock fluctuations, an examination of words in the video medium, a linguistic challenge for your mind, a frame by frame dissection 50 words, shop front poetry, image and language head to head and newspapers under the microscope.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.
Sometimes delicate, sometimes harsh and jarring, Yagi’s koto solos are as much inspired by Nancarrow or Cage as they are traditional.
