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.
What happens when you are engaged in a deep and extended artistic practice that intersects between literature and music, notation and improvisation, sight and sound?
Performances at CCA Glasgow by Keiji Haino, My Cat Is An Alien, Taurpis Tula, Jandek with Richard Youngs and Alex Neilson.
Criminal Queers visualises a radical trans/queer struggle against the prison industrial complex, working to abolish the multiple ways our hearts, genders, and desires are confined.
Dead Labour Process drool-tape farmer, squeaking/creaking Usurper brother and Peeesseye’s yodelling traps-man hold a real OUT splutter party.
The Scottish based Paragon Ensemble has commissioned David Fennessy to compose music for Instal, which will be performed during the evening.
60 cycle hums, jagged static cracklings, and clipped electron pinpricks, mutating them into sublime, post-techno grooves
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
Ellis’s processional, precessional cessation and continuation of movement and music comes to us via his forthcoming release Aster of Ceremonies (Milkweed Editions, 2023)
Quartet improvisation by Klaus Filip – laptop, Radu Malfatti – trombone, Sean Meehan – snare & cymbals, Taku Unami – rice and dish.
When one calls a strike, who hears the call, who attunes and listens to it? How to listen to the call of a strike? What prevents one from hearing this call or stops one from listening to it?
Complex ways of understanding our complex times. Maths & Poetics. Gesture & Physics. Collectivist Struggle & Desire. 5 days of performances, discussions, screenings and study sessions.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
