
As Jane Edwards and Geoffrey Rush
Aileen Campbell
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
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 chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
Simple maths and stringent scored instructions move precise frequencies and clicks to create a dense, fluctuating environment of standing waves and physical sound.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
A live installation of the ‘Film Ist’: projected on 4 huge screens and an improvised soundtrack from 4 figureheads of the Austrian experimental music scene.
Two-parts Helhesten spit strangled shanties and cracked reeds from under a net of the Glasgow Improv Orchestra’s six-strings and one moustache.
Tormented and drawn-out high-pitched yelps and drones, all interleaved with periods of torpid silence.
A kind of performed installation of searing noise and silence, where we’re not sure who the performer is, when it starts or ends or even who it’s for.
The queer archiving of traumatic cultural memory from one of the leading voices working with queer archives.
How do we gesture to the invisible, the trans or the obscure? A performative conversation between boychild and Fernando, a sharing of gestures, and a bodily back and forth between mathematician and dance artist.
Jacobs’ pulsing and abstract 3D Nervous Magic Lantern performance grounded by Eric La Casa’s manipulated recordings of everyday locations.
Chip will read some of his great literary pornography, which pushes sexuality to the point of extremity and exhaustion.
Final workshop exploring work, care and class. Does the ‘care industry’ summon forth its own class? Can this ‘affective class’, in their ability to care for others, militate against the carelessness of self-interest?