COLLECTIVE ART WORKSHOP
Scotland for Decrim
Sex worker only Collective Art Workshop led by the Hard Labour project from Scotland for Decrim.
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.
Sex worker only Collective Art Workshop led by the Hard Labour project from Scotland for Decrim.
Summer Solstice hang out IRL and URL on 21 June
An assembly to try and provide some experiential and theoretical resources for the renewal of a certain affective, extra-political sociality, in the face of one of our great adversaries; the forces of colonial, imperial, genocidal denial.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Live ISDN drone performance resonating between Dundee and an empty Montreal Grain Silo.
A dense, hard, immersive, chaotic spatial performance in sound: a momentary gap in consciousness, free of order or decision.
A welcoming intermission between events, open to the public.
A riot of 60’s psychedelia, magick, ritual and tight black leather, this programme highlights underground innovators who use and subvert pop music for their own experimental ends; and be warned, in Anger, there’s real darkness.
A stroboscopic and intense sensory overload of flashing abstract forms, cut to ribbons by modified projectors.
Equal parts spectacle, installation and performance, his set for us is a specially developed work, ‘turning’, which features an orchestra of multiple turntables, 4 projections and a collection of old, and, quite probably, misfiring analogue kit.
Dr Gabrielle Hodge shares words on Touching the Future, a Protactile project with John Lee Clark, Soline Vennetier, Issy McGrath, Lisa van der Mark, Kyle Bettley and Jordan Goldman, supported by Arika, kickstarting radical DeafBlind Protactile world-building in Glasgow.
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?