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.
Series of short sets by Acid Mothers Temple / Ruins offshoots Zubi Zuva X, Akaten & Zoffy.
Joe Colley specialises in hotwired sound constructions full of ominous electronic disturbances and caustic, noxious drones. For KYTN, Joe created a situation of controlled chaos with 50 light sensitive oscillators placed in a field of candles.
Guitar and voice. Keening, droning and mourning. Be ready to release and bring your dis-ease.
Includes: solar flares, insect fireworks, a new film from Ian Helliwell, pulsating glaciers, an apple being eaten alive, sea ravaged stock, crushed blackberries and film that has literally risen from the grave.
John Mullarkey sets in a wider context our understanding of Alain Badiou and Francois Laruelle, two of the most radical philosophers in Europe today.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
Slowly evolving ultra-subtle harmonics and multi-tracked, otherworldly drones that only reveal their true power at high volume.
A 101 panel on sex work in Scotland, hosted by Scotland for Decrim and National Ugly Mugs
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.
The role of feelings in public life, (political) depression and creative survival.
Includes: a classic of innovative computer graphics, ex-pat Scot McLaren on form, a riotous psychedelic oil show with a Soft Machine accompaniment, subtle manipulation of data feedback, a colourful road movie and a reworking of a lost Paul Sharits film.
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?
