Hermann Nitsch
Hermann Nitsch
A specially commissioned performance for organ. “The course of the stars were to be put to sound.”
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 specially commissioned performance for organ. “The course of the stars were to be put to sound.”
Can our favourite Vegas-born poet of prophetic blackness and a South Central transmuter of social rage into beauty feel through each other?
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
A festival asking how ideas of nihilism, darkness, subjectivity and abjection play out in experimental music, performance art, horror, neuroscience and philosophy?
Tell Me About It creates a space for direct one-to-one conversations with people who habitually find others (filmmakers, politicians, journalists) speaking on their behalf… In partnership with Edinburgh Art Festival.
One-shot sonic portraits of 4 houses, their inhabitants and their relationship to sound, from 2 of the most deep-thinking field-recording artists around.
“The miracle of Herman Melville is this: that a hundred years ago in Moby Dick…he painted a picture of the world in which we live, which is to this day unsurpassed.” – C. L. R. James
Trio vocal performance of a score by Achim Wollscheid with Aileen Campbell, Junko and Dylan Nyoukis.
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
With a signature spartan sound and long term preoccupation in structural tactics (subtle shifts in density, drawn out stasis) Polwechsel blur the boundaries between individual instruments.
A double bill. A simple first person, Dundee-specific tracking shot that approaches the cinema/ screen/ space the film will eventually be shown in and in Brazilian opera house, a fixed camera gazes at a local audience from the stage: a choir, hidden in the orchestra pit, sings and gradually fades to silence.