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.
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
Torrential, wrenching wordless wails, guttural screams and roars, a Haino solo vocal performance.
Each film in this programme celebrates process; the decay of emulsion, the properties of dust and dirt, the manipulation of time. Post the dawn of the digital age, we reflect on our love of the film form, celluloid as an object, a medium and a physical entity.
The site of the former Abbeyhill Station on the 1903 Leith branch of the Edinburgh and Dalkeith railway, overgrown and leading to as yet un-regenerated ‘wasteland’; taxi’s for 80 people, each instructed to take different routes between locations and; a slice of land concealed behind corporate business park branding off the Wester Approach Rd, apparently of no conceivable use and named ‘Chateaux de Scum’ by those who use it anyway.
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
Temporary Outpost for an Auditory Gesture is a kind of performed installation that explores how sonic phenomena (like feedback, vibration, resonance, echo, rhythm) condition our experience.
The weeks previous TLRS daily radio shows, after-hours conversations, radio booths and special guests reassembled as a live electroacoustic performance.
How do people both inside and outside of prison work together to dismantle the criminal justice system and build a society based on collective care?
A talk entitled ‘The Conquest of the Universe’: which delves into the connections between the underground filmmakers and musicians in New York in the early 1960s
Are artists powerless in the face of technology? These often whimsical and amusing films are minimal technological interventions and appropriations but maybe also rigorous takes on the role of popular media and culture in our hyper-technological world.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
Film and sound stripped of ‘content’ and experienced spatially, to be looked at not on the screen but in the space of the gallery
