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.
N30 is a massive, dynamic, immersive multi-channel presentation of front-line field recordings from the protest against the WTO in Seattle
A spectacular musical show which discusses the representation of a nation state, its characters and history. A learning play on myth construction and its reproduction.
Adamantly analogue, inspiring and frequently chaotic in performance, Metamkine draw no distinction between image and sound; during their intuitively improvised performances music and images are created simultaneously and equitably.
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
A sort of prayer and conference, a sort of scream and dialogue – a monologue and declaration at the time, addressing how we can build complicity with one another.
An open conversation around the history and practices of the Ueinzz Theatre Company – a radical Brazilian schizoscenic theatre company of carers, so-called psychotic patients and philosophers.
A 100 strong Feral Choir of people who’ve never improvised with their voices before, conducted by composer Phil Minton.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
Glasgow. Free-playing quartet of bass/ cello/ voice from The Glasgow Improvisors Orchestra and Age Of Wire & String.
Solo by Jean-Philippe Gross, a French electro-acoustic improviser, working with mixing board, cheap mics, small speakers and an analog synth, built around a honed interest in feedback.
Join Scot-PEP, SWARM and Decrim Now for a day of panel discussions focusing on: sex worker’s labour rights, how decriminalisation can help in the struggle for sex worker safety, sex work & migration with a film screening of Crossings.
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?
