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.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
Akio Suzuki and John Butcher performing in an old underground reservoir in Fife.
Recently rediscovered but still very pertinent, Kino Beleške presents a series of speech acts and performative gestures by protagonists of the new artistic practice in former Yugoslavia: each a personal take on the role of art in society.
Out of a dark haze, shafts of light emerge, as the emulsion is scratched from the surface of the film. Simultaneously, out of the black silence, noise and audible scratches bloom into a bright drone.
A carefully thought out, simple but rich performance using just a turntable, teach yourself foreign language LP’s, the impeccable timing of a percussionist, and an idea.
Individual experience separated by physical boundaries (of space, time or ability) suggested as communities of collective experience by (perhaps voyeuristic) artists.
Jandek’s first ever live performance. Unannounced, the performance was a total surprise for everybody at the festival.
Low-end drone guitarage army since 1997: nobody has done more on this occasion by a gaggle of sludge-lovers from the Scottish underground.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
Edinburgh. Beer and smoke befuddled drone/ deadly efforts by Pjorn72 kingpin.
A conversation between Philip and Moten: how do we read NourbeSe’s anti-narrative poetic lament in Glasgow today, given the city’s role in the history of slavery?
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.
