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.
Why won’t the idea of the particle or individual go away? Is the measurement problem in physics a documentary film issue? What can a human be without its crutches of life-time and measure?
Gravitational Feel is an engine for intensifying the differentiation of our entanglement, which you continually reprogramme in the mutual rub, shift and lap of its sonic, wooden, steel, textile and human material.
One of the most influential groups in improvised music, with the collective understanding that comes from listening keenly to each other for decades
Patented 60 cycle hums, static pops, and terse electron pinpricks mutated into perfect, post-techno grooves and synaesthesic video
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
During their time in Scotland for Instal 06 Dave Dove, Bhob Rainey and Greg Kelly did some improvisation workshops and performances in and around Glasgow.
Poems are kisses, fists, and underground rivers. For all these reasons and many more, I am a poet.
Journalist and underground music champion Alan Cummings talks to Keiji Haino about his career and his performance the previous evening.
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
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.
Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?
Do art forms like black radical poetry, free jazz and improvisation create a space for the performance of freedom? Did they ever? And can they still do so now?
