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.
Ecstatic, intensely joyous experimental club music: like “the sound of our water ceremonies…40 bands playing their melodies at once to recreate the cacophony of the first aurora and the call of the morning star Venus”.
CCI Sound system: a performance in which new material will be mixed and phased between two huge PA’s, one a precise Meyer system, the other a huge wall of Marshall amps
Experience a sense of being in the world, in a specific space and time. Including Jeanne Liotta’s recordings of the ionosphere and Walter Ruttmann’s radical 35mm precursor to musique concrète.
A dance party love letter to our community, expressing the joy of relation in the abstract and through actual physical proximity.
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.
Vanessa Place talks at The Friday Event series at the Glasgow School of Art about her practice as a writer.
Thirty lucky Instal punters experience Kylie’s pre-match aggro workout one-on-one in the darkness of an Arches dressing room.
The first INSTAL festival (programmed by Barry Esson of Arika and Tiernan Kelly) featured a line-up including Robert Lippock, Philip Jeck, Fennesz, Paragon Ensemble, Icebreaker International, Defaalt and Rhomboi.
Transfeminist, communist, revolutionary poetry that refuses to flinch. Nat Raha presents new work in the nine.
Three days of discussions, performances, actions, dancing and food – continuing No Total’s ongoing contemplation of ways of being together and the ways Arika have been entangled in those, ever since Episode 4.
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.
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?
