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.
Quasi-theatrical multiple-projector pieces play with the relationship between performers, art and audiences.
Underlying radical transfeminism, as an urgent critique of binary essentialism and fixed identities, is the call for a new kind of thinking that can move between and integrate the truths of all lives in their transformations.
An open collaborative workshop space in which games, warm-up sessions, exercises and scenes are potentially the same thing, through which to project your own concerns onto the stage.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
An LSD trip gone right via dense explorations of post-Fahey steel and low level drone.
One of the most influential groups in improvised music, with the collective understanding that comes from listening keenly to each other for decades
Junko’s screaming vocal in a nuanced, piercing duo with Urabe’s fuming and convulsive saxophone, far removed from the codes of musical tradition.
A public walk from George Square to the Barras market bringing contributions from researchers, activists and artists in a form of live critical praxis
A rare live performance which, although not a full installation, made use of the unique acoustic and spatial properties of the Arches to rattle the audience and help it locate its third ear.
Two bottomless brunch writing workshops—with readings—speculating the relationship between space, infrastructure, technologies and sex.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
MICRO 1 – Wrap a live microphone with a very large sheet of paper. Make a light bundle. Keep the microphone live for another 5 minutes. T. Kosugi – (1961)
