Club: Rhythm Machine12th May, 2017

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Rhythm Machine is a night of dance music and live art where the lines between two merge/blur into each other for a party loaded with joy. Francis Dosoo, one of the organisers, describes the night as “an attempt to create an environment in which both communal and personal exploration and expression are openly encouraged and supported.”

They’ve been collaborating with artists in Edinburgh for a few years, using the platform as a testbed for performances, installations and whatever else. He continues “We want our audience members to feel as confident engaging in contemporary art as they do on the dancefloor and vice versa. Musically, the night was founded around the global new wave of the 1980’s and its many offshoots leading up to the present day.” He’s joined in the booth by Sofay, our most requested resident at The Art School and the person behind the amazing Self Service show on Subcity, plus visual work from these three artists.

Buzzcut 2017

Buzzcut 2017

Craig Manson
BEAR is a performance of loving gestures by a man in a bear mask. Crawling through a floor of foliage, the bear offers gifts of flowers, cuddles and tinned salmon to everyone in the room. Birds chirp, branches creak in the breeze, a piano gently plays through the speakers.

The work was the result of Craig’s given identity in the LGBT community as a Bear – a large, hairy gay man who is expected to project an image of rugged masculinity. Through deliberately ‘feminine’ acts and imagery, Craig attempts to re-imagine this identity by creating a space that feels tender and offers a meditation on the pressures of contemporary masculinity, and the pursuit of connection within an increasingly commodified LGBT culture.

6 SMOKE

Rachel Francis
“Cinema is the ultimate pervert art. It doesn’t give you what you desire – it tells you how to desire.”
Slavoj Žižek

In Smoke, visual artist Rachel Frances Sharpe explores the power of subliminal product placement on screen and its power to enforce desirability of commodity to you as the market audience. Through a smoke mirror scene of filmic installation you will consume intellectually, you may consume sexually, but ultimately you will be consumed in the desire of character and film…

fmin

F-M-I-N
F-M-I-N is a performance partnership between Amy Cameron & Leonie Rae Gasson.

“Our practice reflects our queer feminist outlook, our relationship as a couple and is focused thematically around sex. We make work across different art forms including film, durational performance and one-on-one work. We make work that makes queer women more visible. We make work so we can talk about things we’re not supposed to. We make work to make people feel togetherness. “.

Exhibition: Giulia Colletti presents the work of Adriano La Licata12th May, 2017

In My Defence
In the inner landscape where things lose their form, he becomes both creator and creation. He is just a pool for fun and fear.
It is in the gap between his inside hell and the creation ahead, where the act comes to light. Senses merge, disclosing the untold. They do not point a path, they evoke it. Everything moves within elusive time. Traversing processes of consciousness, he experiments the world. A playful and anarchist attitude betrays everyday oddities.
While transposing the truthfulness of things and subtly subverting their structure, he unearths the conundrum of daily life. Moving as a shaman across madness and wisdom, he loses himself to any change, any discovery, and any failure […]

I Was Restless
[…] Travel more, everyday. Initiate a path, which has already initiated you. Transform something unidirectional into a
multidirectional dynamism. Just explore the reality around you, and then the reality itself will start to investigate you.
Lost, lost, lost! It’s when you feel lost that you find a new self. Abandoning habitual paths is already a way of r-existing.
Unleash the attitude of a vagrant wonder, releasing reality from crystallization. Jump into uncertainty to embrace the
certainty of risk, and laugh at it. Nomadic resistance, move from place to place, from faith to faith,
from fate to fate.

Mix: Dan DnR live at Hotboyz10th May, 2017

Cop the full three hours of one of the finest purveyors of UKG, DAN DnR, in the mix at The Art School. Dan set up Croydon’s DnR Vinyl which has existed as an essential and somewhat rough and ready online shop since 2001/2002. The shop has steadily stocked out the record collection of many a garage head, from niche deleted rare bits to your vocal sweet-boy bangers. You can hear the sheer knowledge this man has of all UK styles cut from the UK hardcore and US garage scenes respectively –jungle, speed garage, 2step, 4todafloor, breaks, grime, dubstep, niche, bassline – you fucking name it, he knows it!

Publication – Psyche19th April, 2017

The first was breathing. The second was pictured. The last was sound.

My right hand can place itself into my left hand. My right hand acts and my left hand listens. I find brokenness in my brokenness. Everything subjective and inside the self as being projected out into the world, objects and events forming intricate chains of meaning. This conveniently proves the damage: A stubborn logic.

There’s a certain surface tension: I see myself falling through the water knowing that it is finite. There is a water-bed beneath it all: splayed limbs naturally act as traction, and also allow me to smoothly swarm, and move through. A clear sediment curls in to the flat of one’s stomach and writes itself into the hair on back of one’s neck. Constantly (or consistently) in a state of drowning, or breathing in some foreign liquid. Unstable lungs fill with screaming ache, but an endless ability to house this liquid. This is falling, or floating, without ground. A relational experience: falling while knowing there’s nothing to fall towards negates the feeling of falling.

Being translated into yourself, and back again, and forth. As in, an incompleteness.

That we sometimes say we translate our inner thoughts and feelings suggests that they are spoken by someone or something other than us, in another language, and subject to other laws of existence, as gases may differ from solids. Things happen concurrently at a near-ish distance. Memories, like the body, have an inside-and-outside, skin as well as insides.

Placing pencil to paper in a few strokes:

Still I can’t see myself.
I still can’t see myself.
I can’t still see myself.
I can’t see my still self.
I can’t see myself still.

In the everyday, we see translation as the process of imperceptibility passing through from one language to another: a set of terms, sets of information rolling from two tongues—not unlike the stacking of glasses, it is a notion built in transparency. It is a process without a beginning, or an end, however. There is no moment in history, or otherwise, where an identity or culture is self-regulated, self sufficient in its own conception, unrelated to anything out of itself or it’s own boundaries. Indeed, we shouldn’t think of cultures as borne of no outside intrusion, nor should we with identities, or texts. Every text has a before-text, and every identity has pre-identity. This is not an exploration of translation in terms of the rendering of ideas authoritatively, and with authenticity (afixed): translation is mediation between two already constituting worlds. There can never be a perfect translation, and there is no such thing.

Immaculate conception is romanticised, and making does not begin cleanly: we are in a world in which emulation or copying or translating ideas is inherent. Creating is acting on that which already exists; it is the act of moving from one space to another and the creating is the movement. It’s not that you, or I, have never thought or said or wanted or conceived or procured something that has never been produced before. It’s not a pure start, and it’s not a pure finish: every translation creates another.

We come to understand the impossibility of transparency, translucency: the self and the other can never truly translate or even know each other. Self and other are exposed as wholly separate rooms.

I recall, or remember, being like, two-years-old and sitting amongst my family. My whiteness is abstracted by the knowledge of its construction. The mixed-raceness of my brothers’ is disturbed by the fact that they’ve grown up apart from their paternal family, away from their blackness and the possibility of aligning their curly hair with anyone apart from each other. I remember watching my mother attempting to brush out their hair and their screaming objection. Movements of misrecognition.

I remember being like, fourteen-years-old and talking with my legs up, in the car, with my knees up and chin tucked between them—talking to my big brother about my perception of his marginalisation, and his adamant denial of all of it. I remember being frustrated. I know that I tried to equate it to something—about the experience of being a girl on the street, and his subsequent denial of women being sexualised-by-proxy, and also that being a negative thing. These were two experiences he didn’t understand, despite the way they correlated, and I feared he’d internalised things he’d been spoonfed, and I don’t think that’s presumptuous. Mixed-race identities dissipate when facing the voidness of one-or-the-other: a sliding scale of relationalism, a fall towards inevitable polarity.

Anyway, excess silently dribbles out and we are left with the untranslatable. To focus on that which is untranslatable, or lost in translation, is not to focus on what is lost but to acknowledge from the start the impossibilities and limits of translation: that which is left over. That which is lost in translation, or caught up in the limits. The left behind bits are unvoiceable, to be viewed in the reflection of a word, or gloss of an image, the smallness of gesture, and without, heard in silences. We are defined just as much by what we are as by what we are not.

The hand touched the hand.

A hand struck a chord.

The weight of water is dependent on its temperature.

The boat sank with all the weight.

The image functioned mimetically.

That which constitutes a boat is in constant flux.

The image depicted a line.

The bodies decided.

The tiles were stacked.

The object was commodified.

Space was taken up.

The privilege was nullified by the goodness of intention.

The coffee let off steam.

A girl screamed and cried.

The words all together sounded better.

The point was lost.

Psyche is a publication embracing creative writing in the areas of politics, mental health, sustainability and creativity. If you are interested in a copy please email psychepublication@gmail.com or copies are available in Good Press or Aye-Aye Books at the CCA.

Exhibition: Joanna Yang – An Investigation of Chinese Typography23rd February, 2017

An investigation of Chinese typography is a sculptural and typographical response of the history and anatomy of Chinese typography. Due to the sheer volume of characters, the development of web fonts and the design of contemporary typography in the Chinese language remains rudimentary compare to other western languages. Phonetic languages that utilise alphabets, such as English, have the ability to quickly develop new typefaces within weeks; whereas a logographic language such as Chinese, with over 50,000 characters, the design process is laborious and often requires years to complete. Joanna Yang’s work examines the structure of Chinese language by decomposing characters three dimensionally through suspending sculptures and recomposing two dimensionally using light and shadow. These typography was further explored through paper cuts and folding techniques which continued to investigate the anatomy and history of Chinese typography.


Exhibition: Kate Madsen – Fruit Grandma23rd February, 2017

Using fruit cuttings and matriarchal crafts as inspiration, Kate Madsen’s Fruit Grandma explores gender roles in art/craft/design through embroidery, textiles and repetitive patterns.

fruit-grandma3

fruitgrandmahanging

Buzzcut & The Art School – (F)Unnatural: A Club Performance Residency12th December, 2016

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Have you noticed there’s quite a lot of performance happening in clubs recently? Like… a little more than usual. Because we have! And we think this is a super cool thing in BUZZCUT and The Art School’s opinion! We wanted to put our heads, hands and hearts together to help continue this?

The Art School and BUZZCUT are teaming up to invite submissions from Scotland-based artists looking to develop new performances for club environments. We welcome applications from artists working in the blurry, murky worlds between live art, contemporary performance and visual art who are looking to develop their practice in this area. This residency project can be most useful to an artist who is currently really in need of rehearsal space. Glasgow is really struggling to provide rehearsal rooms and space for performance makers, and this project is keen to help!

What you’ll get:

– Minimum of 4 paid gigs (£50 per gig) over a two-month period at selected club nights in the Art School.
– Events will be selected based on your individual practice in conversation with BUZZCUT & The Art School.
– Rehearsal and Meeting space on availability ( Minimum 1 full day per week)
– Rider provided
– Mentorship from the Art School and BUZZCUT and their associated artists from Scotland and further afield
– Opportunities to collaborate with students across Glasgow.
– Small materials budget
– Documentation of your work (Dependent on permission from the individual club nights)

Dates:

We have three slots available:

– February – March 2017
– April – May 2017
– June – July 2017

What we’re looking for:

We’re looking for artists whose work doesn’t fit into traditional categories of theatre, dance, music or poetry. The residency is not for a gigging poet or band/musician, however these practices may be incorporated into the pieces you develop. We’re looking for artists who want to consider how their practices may be adapted for a loud, busy, boozy club context.

If you plan to use this residency and rehearsal space as part of a wider project you are engaged in we’d love to hear about it. This is not essential by any means?

The work you create must have a performative element but can be any length or any location in The Vic Bar. The artist must be based in Scotland. Artists based outside of Glasgow may still apply but we will sadly not be able to cover travel or accommodation costs.

We will not be accepting applications from Undergraduate or Postgraduate students.

How to apply:

Send your application by email to Lewis Prosser lewis@theartschool.co.uk  with the subject line ‘Art School Residency – Your Name’ and include:

– Name:

– Address:

– Phone number:

– Email Address:

– Up to 600 words on your practice, the work you want to develop as part of the residency and why this is important and interesting to you at this time:

  • Any supporting documentation you have of your work (videos, pictures):
  • Which 2-month slot(s) are you available for?:

The deadline for applications is Friday 6th January 2017

We look forward to reading your applications!

BUZZCUT & The Art School

Club: PVC Residents6th October, 2016

Continuing their mission to create an inclusive, fun and flirty club on a Thursday night, the PVC residents return with some mixes and a few words to help you slip back into their house. Come through on Thursday and get into a positive space!

junglehussy

Tell us a little about what you do, and what you’ll be bringing to the PVC party?
Everything and anything to make you bounce. Junglehussy is stuck in a previous decade. Like a bad boy reunion tour that should of happened 20years ago, i.e LATE.

What has been your favourite past PVC party or guest?
So many 2 chose from! Bouncing around to Sunshower’s sets and whenever the two Sophie’s go back-to-back (Brandy Deep-Cuts/Cleoslaptra)

Tell us a track/artist (delete as apt) that sums up your last year?
What Is Real? – Tink

…and a track/artist you’ll be playing over the next year?
Da Baddest B****/Trina *on repeat*

What’s your favourite PVC poster?
Bossy Love poster was sizzling, Life’s a Peach was QT and Fun Flirty Fluid was norty.

What do you hope to see in the music/club scene in Glasgow over the next year?
More hot acts doing their own thing on small/large levels coming thru and also wanting to come thru.

sunshower

What have you been working on since the birth of PVC 1 year ago?
Over the past year I have been running my own club night called Dreamcast. I’ve set up a net-label called Roof Garden Records, i’ve released a digital album through Pedicure Records, and put out an EP on Not Like That!

What has been your favourite past PVC party or guest?
DJ Femme Fresh curated night w/ Joe Howe.

Tell us a track/artist that sums up your last year?
Empyrean Tears – Take Me Away / dJJ – just a lil.

…and a track/artist you’ll be playing over the next year?
The Person – Orangina (Toca Me Amor)!

What’s your favourite PVC poster?
Flower & toothpaste.

What do you hope to see in the music/club scene in Glasgow over the next year?
A shift away from the continued swell of derivative house/techno club nights towards a more creative, inclusive & intelligent Glasgow nightlife.

syscho

What have you been working on since the birth of PVC 1 year ago?
Bits and pieces, moving in new directions as a DJ and working on making Stereo inclusive and accessibly.

What has been your favourite past PVC party or guest?
False Witness or Danny L Harle, the happy hardcore one was fun too.

Tell us a artist that sums up your last year?
It’s gonna have to be by labels – Mixpak, Bala Club, Qweenbeat, NON to name a few.

…and an artist you’ll be playing over the next year?
Gonna try and get away with as much nu-metal as possible #yolo!

What’s been your favourite PVC poster?
Gotta be the one with the tampons.

What do you hope to see in the music/club scene in Glasgow over the next year?
More diversity, more exclusivity and something that’s actually progressive and groundbreaking.

pearl necklac

What have you been working on since the birth of PVC 1 year ago?
Mostly playing at parties that involve glitter in some way. I curated a 3 floor collaborative party in a hotel w/ a lot of local talented djs, performers and designers. That was pretty dope. Now currently experimenting with producing some vogue tracks.

What has been your favourite past PVC party or guest?
I <3 having Bossy Love at PVC, as I’ve been a fan of them for a while and love their sound. Also my gals PUSSY PALACE who brought their fierceness to their hometown. Tell us a artist that sums up your last year? (i.e. as DJs at PVC, obv.)
Lsdxoxo, Ms Banks, Tinashe & Divoli S’vere <3 And a artist you’ll be playing over the next year?
Lil Kim AAF

What’s your favourite PVC poster?
My favourites are our launch party poster ‘peel slowly and see’ with the rubber glove and the banana and I also rly like the Danny L’Harle one too!

What do you hope to see in the music/club scene in Glasgow over the next year?
Leather.

jem

What have you been working on since the birth of PVC 1 year ago?
I’ve been working hard on PVC, trying to keep it moving, staying honest and representing our position in the club scene in Glasgow and further afield. I’ve started making some silly party music with fellow PVC DJ Sunshower as Kissu, as well as a new radio show we’re both working on together, called Waterproof for Datafruits.fm. I’ve also recorded a collaborative demo at Green Door studios under the name Gong Bath with some other Glasgow musicians and working on some ideas currently in production.

What has been your favourite past PVC party or guest?
Playing with Danny L Harle was a bit of a dream, and of course the crazed joy that was the freshers’ party last year that ended in Matthieu (ents convener at the time) pouring an entire can of orangeboom over himself in celebration come 3am.

Tell us a track that sums up your last year?
less love more sex – dj salinger rmx
most requested track since freshers last year all the way up to degree show. total cutesy banger and epitome of my time at PVC

and a track you’ll be playing over the next year?
rizzla – burning boat
this year i’m going to be playing sets full of cute but bassy, jumpy but danceable weirdness.

What’s your favourite PVC poster?
Flying tampons or sunscreen hot dog.

What do you hope to see in the music/club scene in Glasgow over the next year?
honest conversation, responsibility, mutual support and dumb fun

Exhibition: Escapement – Enya Zia Fortuna & Blair Coron | Curated by Skaiste Klaniute5th August, 2016

Escapement

This newly commissioned live performance portrays a phantasmagorical depiction of labour. The title refers to the 13th century invention of the escapement, an early form of minimal clockwork consisting of a coiled spring and pendulum that allowed it to oscillate at a steady pace. The spread of portable watches played a key part in shaping modern society during the industrial revolution. The clock was used to synchronise labour and quantify productivity. Trapped in a tightly orchestrated cycle of production, Fortuna and Coron invoke and subvert ideas about the repercussions of time, work and discipline in contemporary society.

Enya Zia Fortuna (b. 1992, Kranj, Slovenia) is a visual artist based in Glasgow. Enya works primarily with performance, yet integrating elements from theatre, film and installation.

Blair Coron (b.1991, Fife, Scotland) is a musician/composer based in Glasgow. His musical inspiration comes from a multitude of avenues, ranging from folk, post rock, classical, minimalism, hints of electronic and ambience.

Tickets are free and can be booked here via Eventbrite.

Escapement is presented as part of the 2016 Graduate Degree Show at the Glasgow School of Art

Exhibition: Vivian Li – Spatial Construct29th June, 2016