Bad Vibes Club Podcast co-host Beth Bramich talks to the artist Chloe Cooper about her work with Jenny Moore and Phoebe Davies as Bedfellows, a research project about sex re-education, performing an Internal Scratch at Battersea Arts Centre, sex education at the British Museum, sex positivity, activism and consent. Listen to the episode here.
While at Flat Time House, The Bad Vibes Club (Beth Bramich and Matthew de Kersaint Giraudeau) will be hosting a programme of events, including talks, screenings and performances, as well as launching a new publication in June 2018.
Join The Bad Vibes Club (Matthew de Kersaint Giraudeau & Beth Bramich) at Bloc Projects, Sheffield, for a readinggroup and discussion about how paranoia affects the way we think, and the possibilities for what Eve Sedgwick has called ‘reparative reading‘. Reparative reading is a powerful corrective to paranoia and cynicism, and a much needed way of engaging with people and ideas that are different from our own.
‘Knotted Mass II’ is an artist’s book developed from Holly Slingsby’s 2016 performance of the same name at The Bower’s pop-up project, Finishing Touch, London. This work evolved from her research into the language of hair in the narratives of pop-cultural and mythical figures. It took place by candlelight, drawing from a rich selection of images, where hair is both subject and object, exploring its significance in popular culture, history, mythology and religion. ‘Knotted Mass II’ includes texts and images from the performance, new drawings, photographic documentation, and a specially commissioned text by Beth Bramich.
Flat Time House is hosting The Bad Vibes Club in 2017–18. The Bad Vibes Club is a forum for research into negative states. Whilst at Flat Time House, Beth Bramich and Matthew de Kersaint Giraudeau will host 6 months of reading groups, a number of live events, and the launch of a new publication in June 2018. Please come along! All welcome, if you haven’t managed to make the reading groups before, now is a great time to start.
I took a bottle of water and a bleakening worldview. Moving forward, pretending not to be moving away from, following the A-road to the island, on the edge of the asphalt all the way along the causeway. I was attempting to come up for air in that not-quite-defeated repeating way that I do. The little bastard of optimism and the desire to be empty kept me coming round and round to this lurching motion. The island is tied, tethered at its northmost to the mainland; it rises up bluntly and then slumps forward a few miles south into the sea. The cliffside route offers breathtaking views.
Think through things. Need to. Need to breakdown to recombine. Need to depressurise the pressure behind the eyes. De-pressed and un-mind. False sense of security — pushing thumbs into sockets — blanket ban on feelings. Hands on table. Scissors in hand, pull out magazine.
The French/German, London-based artist Caroline Achaintre has been exploring the peculiar psychology of the mask for more than a decade. This has led her to some unusual places – from the costumes and characters of the European carnival and commedia dell’arte to catwalk fashion, S&M dens and schlocky sci-fi and horror films. Her work is heavily indebted to the German expressionists’ appropriation of primitive forms and the playful permissiveness of pop. Her first major survey, this exhibition brings together 63 works, including hand-tufted wool wall hangings, ceramic sculptures, prints and watercolours.