
Extra Friday Set
Klaus Filip Radu Malfatti Sean Meehan Taku Unami
Quartet improvisation by Klaus Filip – laptop, Radu Malfatti – trombone, Sean Meehan – snare & cymbals, Taku Unami – rice and dish.
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.
Quartet improvisation by Klaus Filip – laptop, Radu Malfatti – trombone, Sean Meehan – snare & cymbals, Taku Unami – rice and dish.
Out holler/ howl of English pukenoise posterboys exploded by incessant insect chatter of Northern fug dweller.
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?
Like walking through the abstracted amalgamation of 30 or so storms, trays of water shaken by thunder, light bouncing off pools.
In a moment of social exhaustion, we want to ask how we might care for each other differently. We Can’t Live Without Our Lives is a 5-day exploration of care as a form of struggle and resistance, with communities who embody it.
A somehow hyper-modern, ancient and folkloric lip-synced, made-up, fashioned performance.
Dub is strange. A conversation with Edward George and Dhanveer Brar.
A movement-based workshop on Krump and the politics of how we teach, learn and listen with our bodies. Move with us!
UK conceptual/ drone/ noise artist, who is seriously posing what might seem to be unanswerable questions of music.
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 beautifully crisp, slowly evolving duo for cello and projected images. Abstract but still figurative; change only noticeable after the fact.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.