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.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
Three iconic figures from the Japanese underground assembled as a trio to stand in for the advertised duo of Junko and Jerome Noetinger who was unable to attend the festival due to illness.
In the Foyer at the Tramway we will screen a documentary from the Sex Workers’ Festival of Resistance 2017 and La Llamada by Eduardo Restrepo Castaño.
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
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.
Laser beam sine tones used to draw delicate, abstract patterns by vibrating charcoal, placed atop of a great strip of paper running through the gallery; beautiful, fragile sound-created autonomous drawing.
Is it possible to dance our way out of the hardened stances and identity prisons we are locked in?
A series of reality dramas happening over the course of the weekend.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
Imagery, drawn from what seems like hundreds of different films is overlaid and combined in a promissory rainbow of new meanings and impossible scenarios, with the unsettling feel of daylight shadows.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
