Event: SAMHAIN – Hallowe’en10th October, 2017

Tickets | Event

Come children to this All Hallows Rave!

Feast thine hungry eyes on a Mummers’ Pageant! Be enchanted by fairies, goblins, ghosts and ghouls! Keen like the banshee! Soar like the harpy! Imbibe, chant and jumpstep widdershins around the bonfire to the Hecatean Rhythms and Hardcore Vibes of:


The PDA crew are coming through for the party! PDA is the brainchild of DJ trio Mischa Mafia, DJ Larry B, Crackstevens. Their nights don’t set out be anything except a celebratory event that invites DJs, collectives and performers, who share a similar ideology in mixing things up, to play for their peers! This includes British-Ghanaian DJ and producer Larry B who’s been tearing up south London for a few years now, as well as being the tour DJ for Mykki Blanco. His recent 5 Sad Songs EP revealed, he’s also a talented singer-songwriter, with some low key emotional numbers like Hit It Right.


The close knit community of dancers, lovers, clubbers and friends also have an iteration on NTS hosted by Mischa Mafia! Check out their long running show.


Completing the trio is the crazy talented director and DJ, crackstevens, who’s responsible for some stunning videos, including Farai’s Lion Warrior. His work is reflected in his mixes and music.

By and large the most terrifying day of being a moving image director so far #tunnelvision #katetempest

A post shared by crackstevens (@crackstevens) on


An ensemble of old ravers who came together for a series of mixtapes, unearthing archives and ended up putting on parties in various bowling clubs dedicated to rave and hardcore around Glasgow –something that’s lead to a few more groups picking up on the notion! They’ve been off radar for a while, but now seems like the perfect time to throw some light on them.


Part of the Concrete Cabin group, DJ Crud is your premier ruffneck DJ. He’ll be serving a foray into the outer reaches of the Hardcore Continuum via the rolling concrète experimentalism of early Metalheadz/Science/Earth, the glassy Grime incursions of Wiley Kat/Black Ops/Slew Dem –all fused together with an array of beatless dread & contemporary ruffige. He’s also a very talented design and printmaker.


This 3-piece murk a brutal version of new wave, delivering a pummelling techno sound and the sharp dynamics of punk’s death throes in equal measure.


The haunting voice of Josie Valley explores traditional Scots song and storytelling. Inspired largely by Scots singers including the repertoire of Lizzie Higgins (1929-1993), she brings together a range of sources and sparse accompaniments. Her repertoire focuses on stories sung from women’s perspectives and collages of different source material.



SELKIE! from Craig Manson on Vimeo.


Throughout the night we’ll be welcoming some very talented performers who’ll be sharing new works with you and killing your timid notions of what a club experience is supposed to be!

And the fires shall burn
And the wheel of life shall turn
And the dead come back home on…



Club: OH141 w/ Pan Daijing, Sue Zuki & Gareth Roberts13th September, 2017

OH141 w/ Pan Daijing, Sue Zuki & Gareth Roberts
Sat 7th Oct

“Perched on the cutting edge where Berlin’s music and art scenes blur into one another, Pan Daijing‘s music is steeped in dark noise and cinematic atmospherics, drifting into eerie drone and twisted beats…”

…and that’s exactly why Pan is our first booking back after a much needed break!

Join us as she makes her Glasgow debut for a live set with support from NTS Radio’s SUE ZUKI and Domestic Exile’s Gareth Roberts.

You can check out each of their sounds below but in the meantime we’ve put up a limited number of £7 tickets for the heads that cannot afford the full price on the night.

See you at the Vic Bar on October 7th 🙂

Club: 12th Isle: ‘Blubber Tottum’ Inauguration + Art School Monthly12th September, 2017

12th Isle
Sat 30th September

Club: 8ULENTINA & foolzool (Club Chai) + AUCO11th September, 2017

8ULENTINA & foozool (CLUB CHAI)Vomit96 aka Auco
Thu 14th Sep

Club Chai is a club event curated by 8ULENTINA and foozool in Oakland, California that centers diasporic narratives, women and trans artists, DJs and producers. 8ULENTINA and foozool have been co-curating genre bending events together for over a year focusing on hybridizing non western sounds with club music.

Vomit96 aka Auco is an DJ currently between the cities of Glasgow and Berlin, who made an amazing debut at Dawn’s Egg earlier this year.


Exhibition: People and Place – Hannah Logan11th September, 2017

When I left high school in 2011 I found out about the Communication Design course on the GSA website, I made a portfolio on the GSA Continued Education course and in 2012 I began my degree; Art school encourages you to put your work on a wall. “Live with your work” is something that my tutor said to me this year, suggesting I place my printed photographs around my flat and studio desk space. I think digital photos can be so easily hidden and forgotten on hard drives, so this process was liberating for me and for my work. This exhibition was my degree show; I graduated from GSA this summer with a B.A in Design after my 3 rd year, so I wasn’t part of the big degree show in June. I really enjoyed putting on the event, and inviting friends, strangers and even Glasgow based photographers whose work I admire to come and see my photographs and selected

During my 6 years of being at The Art School, 2 of which were spent recovering from and coming to terms with having bipolar disorder, I’ve learned about a lot of visual communication rules. I’ve listened to a lot of opinions and views. I’ve looked at Art School from the outside and then from inside out. I’ve taken breaks and then had another go at it. My momentum has been lost at times and I’ve had to work hard to get back onboard.

By making this personal exercise of reviewing the photographs I had taken over the past 6 years into a public exhibition (the first I’d ever hosted) others could join me as I looked for connections and themes, the good bits and the bad bits and for a sense of direction as I look forward. This experience, the feedback and resulting conversations I’ve since had with the audience have given me ideas that I can now explore further. I’m excited to start working as a photographer.

Club: Rhythm Machine12th May, 2017


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.


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…


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.