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 recorded a conversation that grounds the Episode, exploring Ailton Krenak’s thinking and distinct poetics of life; as it work against capitalism and fascism, as a denunciation of political alliances, and maybe even of ‘politics’.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Edinburgh. Sinewave manipulating Giant Tank-ette goes head-to-head with Decaer Pinga’s first lady of noise.
Tiny fragments of sound recombined and woven into spare and precise, violent yet beautiful pieces
John Butcher plays and manipulates a feeding back saxophone. Benedict Drew on electronics, broken cables and standing waves.
Nina’s going to talk about November, by Hito Steyerl: what and how the film thinks, or about what and how it might makes us think (which is connected, but not the same thing), by watching, and it discussing (with you?).
Conceptual writer and practicing lawyer Vanessa Place performs and talks with Mark Sanders, author of the brilliant “Complicities: The Intellectual and Apartheid”
In this session we’ll explore the use of herbs to support psycho-emotional health*, especially focusing on considering ‘nervines’; herbs that support rest, relaxation, that soothe, ground, vitalise and nourish. We’ll also be looking at personal constitutions and plant energetics. And we’ll briefly touch on the use of entheogens (psychoactive substances such as magic mushrooms) as medicine.
Dual projections of pulsating shards of film, treated in crystallized salts and dyes merge with the whirring of projectors, distilled into particles of sound.
Taking over the gallery spaces at Dundee Contemporary Arts, the first Kill Your Timid Notion presented a 3 day programme of live immersive experiences and specially curated film programmes.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
