ENTANGLEMENTS OF THE APOCALYPSE is a transdisciplinary programme exploring queer and trans imaginaries of world-building in response to apocalypse(s).
Grounded in ongoing research, the programme critically reinterprets the idea of apocalypse through queer and trans lenses, actively resisting capitalist and colonial narratives that frame apocalypse as a singular or final event.
Drawing inspiration from Oxana Timofeeva’s concept of apocalypse as a cyclical and continuous condition, this project engages with apocalypse as an ongoing transformative process that shapes collective memory and artistic practices.
Drawing inspiration from Oxana Timofeeva’s concept of apocalypse as a cyclical and continuous condition, this project engages with apocalypse as an ongoing transformative process that shapes collective memory and artistic practices.
Led by independent curators and artists, the programme challenges conventional narratives around ‘the end,’ creating spaces for dialogue, experimentation, and collective expression. The programme imagines exhibition-making as an inclusive and collaborative learning process, working closely with queer communities to build spaces of resistance, care, and speculative creativity.
Through radically intimate and emergent methods, this initiative uses apocalyptic thinking as a means of envisioning alternative and transformative present and future.
Through radically intimate and emergent methods, this initiative uses apocalyptic thinking as a means of envisioning alternative and transformative present and future.
Programme
The programme invites audiences to collectively engage with post-apocalyptic thinking, queer world-building, and trans-led imaginaries that centre care, pleasure, hybridity, and embodied knowledge - through a series of performances, discursive events, a residency, exhibitions and screenings.
Information on participating artists and upcoming events is available HERE.
Invited collaborators include: Keioui Keijaun Thomas, Carefuffle, Black Quantum Futurism, Catherine Hoffmann, Mijke van der Drift & Zissel Aronow, Hannah Fair, Dani d’Emilia, Bassam Issa Al-Sabah & Jennifer Mehigan, Rose Choreographic School and Basel Abbas and Ruanne Abou-Rahme.
Credits
ENTANGLEMENTS OF THE APOCALYPSE is co-curated by Mine Kaplangı, Benjamin Sebastian, Joseph Morgan Schofield and Ash McNaughton. The programme has been made possible through partnerships with; Deptford X, The Horse Hospital, Antiuniversity, ArtVerge, artfridge, Rose Choreographic School, Atelier PR, Studio MaBa (Marco Berardi and Baiba Sprance) and Carefuffle - along with public funding from the National Lottery, Arts Council England, and Cultúr Éireann | Culture Ireland.
Exhibition by
Bassam Issa Al-Sabah and Jennifer Mehigan
Exhibition installation (detail) at VSSL Studio - Biolytic Daughter - A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. Photographic documentation by Marco Berardi & Baiba Sprance. 2025 - (Image Description: Sculptural detail showing a bronze-toned dragon claw resting beside bronze-toned wings and a foamex-cut horse’s foot at the centre, adorned with small pearls nestled within and scattered nearby, illuminated by a warm, greenish-gold ambient light).Opening Hours
Opening Night: 6pm to 9pm, Thursday 6 November12pm to 5pm, 6th to 30th of November
Thursday to Saturday (Closed Sunday to Wednesday)
at VSSL Studio
︎︎︎Audio Recording of the Exhibition Text
︎︎︎Plain English Version of the Exhibition Text
︎︎︎Visual Story of how to get to VSSL Studio
︎︎︎ArtVerge Interview
︎︎︎artfridge Interview
Exhibition installation at VSSL Studio - Biolytic Daughter - A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. Photographic documentation by Marco Berardi & Baiba Sprance. 2025 - (Image Description: Exhibition view showing two seated visitors watching a video projection featuring a figure standing against a vivid, painterly landscape, with English subtitles visible at the bottom of the screen, illuminated by yellow-green ambient light).
Still from "Uncensored Lilac" HD CGI Film (2024). A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. - (Image Desciption: The digital image depicts a fantastical figure with a smooth, pale face and piercing red eyes. From their head extend multiple fleshy, twisting, horn-like forms that resemble both antlers and tendrils. White petal-like fragments float around them, creating movement against the dark backdrop. The combination of humanoid and otherworldly features evokes a sense of dreamlike intensity).
At the centre of Biolytic Daughter is Uncensored Lilac, a 30-minute video work that tells a story of revenge and desire. A group of goddesses and their assembly of familiars, pets, servants, and technologies are lounging. Separated from one another, they share a land but not a common ground. They have been invaded. They are pretty, hot, bothered, and bored. They are ready to destroy each other. They look deep into the camera and recite their deepest wishes, hopes, dreams, and fantasies. Meanwhile, temperatures are rising. They morph and grow and make their rage known. Quick to anger, their tempers rise with the heat.
Set in a dreamlike hallucinatory landscape, the film features a series of monologues given by these mega-femme entities who have everything and nothing to say. They describe their hopes and desires, bicker, interact from a distance, and refuse to unite. In the cultivation of an economy where hotness equals power, this kind of global warming is no surprise – rising tempers and rising temperatures. Increasingly isolated from each other, they hold on tight to their apolitical, apathetic, consumer-driven dreams.
Within the exhibition space, a series of sculptures, multiple sized cutouts, paintings and prints extend this world out from the screen. The brutality of these mega-femmes comes to life: giant, veiny legs and a woolly sheep act as monuments disrupting the scale of the world built in the film and anchoring us to their climate-altered world. Contrasting the relationship between avatars and screens, and the feminine and the landscape – a common trope in feminist utopian literature – Bassam Issa Al-Sabah and Jennifer Mehigan question how we embody and are altered by climate collapse. Reflecting on the flatness of the screen, and their flattening of politics, they explore the impossibility and bureaucracy of being right in what can feel like the end of the world.
Set in a dreamlike hallucinatory landscape, the film features a series of monologues given by these mega-femme entities who have everything and nothing to say. They describe their hopes and desires, bicker, interact from a distance, and refuse to unite. In the cultivation of an economy where hotness equals power, this kind of global warming is no surprise – rising tempers and rising temperatures. Increasingly isolated from each other, they hold on tight to their apolitical, apathetic, consumer-driven dreams.
Within the exhibition space, a series of sculptures, multiple sized cutouts, paintings and prints extend this world out from the screen. The brutality of these mega-femmes comes to life: giant, veiny legs and a woolly sheep act as monuments disrupting the scale of the world built in the film and anchoring us to their climate-altered world. Contrasting the relationship between avatars and screens, and the feminine and the landscape – a common trope in feminist utopian literature – Bassam Issa Al-Sabah and Jennifer Mehigan question how we embody and are altered by climate collapse. Reflecting on the flatness of the screen, and their flattening of politics, they explore the impossibility and bureaucracy of being right in what can feel like the end of the world.
Exhibition installation (detail) at VSSL Studio - Biolytic Daughter - A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. Photographic documentation by Marco Berardi & Baiba Sprance. 2025 - (Image Description: Close-up view of a bronze-toned winged sculpture suspended against a yellow-green wall, casting layered shadows that emphasise its curved form and textured surface under directional light).
Exhibition installation (detail) at VSSL Studio - Biolytic Daughter - A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. Photographic documentation by Marco Berardi & Baiba Sprance. 2025 - (Image Description: Sculptural installation featuring a bronze-toned head with an open mouth holding a cigarette, positioned on a wooden shelf bracketed to a yellow-green wall, partially framed by a painted panel on the left side).About Bassam Issa Al-Sabah
Bassam Issa Al-Sabah is an artist working with digital animation, painting, sculpture and textiles. his installations interrogate the intersection of fantasy and trauma, employing speculative worlds as a lens through which to explore the mechanisms of memory and identity formation. Frequently drawing on the visual lexicon of video games, anime, and popular culture, constructing alternative realities that function as both a means of escape and critical commentary. These Surrealistic spaces are often juxtaposed with stark depictions of violence and destruction, their landscapes and fragmented narratives mirroring the dissonant nature of recollection and the complex processes of self-reconstruction.At the core of his practice is an investigation into how digital culture and virtual environments mediate experiences of trauma, displacement, and loss. These constructed worlds provide a framework for reimagining personal and collective histories, where the fantastical serves not only as a refuge but as a site of confrontation
Recent solo exhibitions include Uncensored Lilac, in collaboration with Jennifer Mehigan at Silent Green, Transmediale, Berlin (2024), IT'S DANGEROUS TO GO ALONE TAKE THIS!, The Douglas Hyde Gallery of Contemporary Art, Dublin (2022), I AM ERROR, Gasworks, London (2021), and De La Warr Pavilion, Sussex (2022).
www.bassamissa.xyz
Exhibition installation (detail) at VSSL Studio - Biolytic Daughter - A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. Photographic documentation by Marco Berardi & Baiba Sprance. 2025 - (Image Description: Sculptural artwork depicting an elongated bronze-toned hand with long, pointed nails emerging from a yellow-green wall, with a small red berry delicately balanced on its fingertip, illuminated by a video projection in the background).
Exhibition installation (detail) at VSSL Studio - Biolytic Daughter - A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan. Photographic documentation by Marco Berardi & Baiba Sprance. 2025 - (Image Description: Installation detail showing the silhouette of large sculptural forms of horse ears cast against a yellow-green wall, with a small winged bronze sculpture suspended on chains, partially illuminated by soft projected light).
About Jennifer Mehigan
Jennifer Mehigan's prints and paintings fuse diverse media and sources, including 3D scans of her garden, images of plants growing on the graves of strange Irish women, the archive of Victorian portrait photographer Lady Clementina Hawarden, the four-dimensional drawings by the Cork-born mathematician Alicia Boole, and an encrypted codex known as the Voynich manuscript. Using paint, inkjet, graphics cards, neural networks, pearl powder and gel, her works blend new and old methods of making and processing the world – a relationship the artist views as a ‘strained mother-daughter bond’. Mehigan’s wider practice also incorporates CGI, sculpture, filmmaking, perfumery, writing, parties, artificial intelligence and horticulture, deploying sensory experience to explore queerness and femininity.Mehigan regularly creates work in collaboration with artist Bassam Issa Al-Sabah and and is a former member of Temporary Pleasure, a rave architecture collective. Her PhD research at Belfast School of Art speculates about Ireland’s 'abstract' and anorexic women after the Famine, revisiting isolation, illegibility and ‘image hunger’ in the age of techno-surveillance.
Recent exhibitions include Uncensored Lilac, with Bassam Issa Al-Sabah, transmediale studio, Berlin (2024); 4D MOUND NETWORK, An Chultúrlann McAdam Ó Fiaich, Belfast; HERE COMES LOVE, Kerlin Gallery, Dublin (both 2023); Nightbloom Chokehold at Douglas Hyde Gallery, Dublin (2022) and Creamatorium 2 at transmediale, Berlin (2021). She is based in Limerick.
www.default.garden
Exhibition Posters, 2025, A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan - (Image Description: The poster depicts a fantastical, androgynous figure with pointed ears and shimmering skin, emerging from dark reflective water alongside a horse. The figure holds a glowing pink heart-shaped object, casting soft light onto their chest and hair. Behind them, jagged rocky formations rise against a stark black mythical background. At the bottom of the image, bold white lettering reads; Biolytic Daughter).
Exhibition Posters, 2025, A collaboration between Bassam Issa Al-Sabah and Jennifer Mehigan - (Image Description: The artwork features a surreal humanoid figure with glossy black curved horns, elongated ears, and sharp white fangs emerging from an oversized mouth. Their skin has a pale, fleshy texture with protruding ridges along the shoulders, while long black hair frames their face. The background is a flat grey, overlaid with bold white silhouettes of flowers and plants. Above the figure, gothic white text spells; Biolytic Daughter).
About carefuffle
Carefuffle is a disabled and queer-led working group rooted in the principles of care, interconnectedness, authorship and social justice.We are dedicated to celebrating disabled and queer talent and genius. Our commitment to challenging the ableist narratives and socio-cultural exclusion comes from the belief in the wholeness of disability and access as a collective joy and shared responsibility towards a liberatory future .
When we say “Working Group,” we honour the community and everyone who has an impact on what we do and how we think, as well as the lineages of Disability Justice and Crip community wisdom that make our work possible. They generously share their wisdom, knowledge, and skills with us, profoundly influencing our practices and thought processes. Without them, Carefuffle would not exist.
www.care-fuffle.com
Access Information for the Exhibition
The exhibition is free to attend.
(See Visual Story for more detail.)
The toilet includes:
The toilet door is heavy and opens manually outward. VSSL team are happy to provide assistance.
Getting Here
- VSSL is on Resolution Way, on the ground floor of an apartment building called Resolution Studios, opposite the commercial arches.
- It is part of the creative hub Enclave, which includes other galleries and creative spaces.
-
ADDRESS: VSSL Studio, Enclave 50, Resolution Way. London SE8 4AL
- View on Google Maps
- VISUAL STORY: How to Get to VSSL (PDF available)
Step-free access
- Step-free access to VSSL is available via Tidemill Way
- Please check the Visual Story for Directional photos of the route
Parking and Drop-Off Points
- Accessible parking: The nearest accessible parking is on Frankham Street (Pay & Display / Parking Boulevard).
It is a tree-lined road with spaces on both sides.
The walk from Frankham Street to VSSL takes around 4 minutes via Tidemill Way. - Drop-off point: The nearest car drop-off point is on Tidemill Way, behind Deptford Lounge.
From here, there is a short, step-free route through the car park directly to VSSL.
Public Transport
VSSL is well connected by public transport.- Train: The nearest rail station is Deptford Station, about 4 minutes’ walk along a flat route. The station has step-free access.
- DLR: Deptford Bridge Station is about 10 minutes’ walk along a flat route. It also has step-free access.
- Bus: The closest stop is Wavelengths on Deptford Church Street.
Only bus 47 serves this stop. It runs between Bellingham (Catford Bus Garage) and Shoreditch, passing through Lewisham, Deptford, Canada Water, Bermondsey, London Bridge, and Liverpool Street Station.
(See Visual Story for more detail.)
STATION PICK UP
VSSL team are happy to pick you up from the station (Deptford Train Station, Deptford Bridge DLR, Wavelenghts Bus Stop). To arrange a station pick up please email us on mine@vssl-studio.org two days in advance. Please note that we can only arrange a pick-up at 11:45 am during the exhibition days (Thursday, Friday and Saturday) as we will only have one invigilator for each day and they need to be present in the space.CAPTIONS AND ALTERNATIVE FORMATS
- The film in the exhibition will always include open captions.
- Exhibition texts are available in Plain English, Large Print, and Audio Recording formats in the venue and online.
VSSL STUDIO Space Information
- The exhibition space measures 3.95 metres wide, 6 metres long, and 4 metres high.
- The entrance door is 1.70 metres wide, heavy, and opens manually inward.
- Please ask a member of staff for assistance if needed.
-
Lighting: Dim lights throughout, with video projector and soft yellow lighting.
-
Noise / Volume: The video will play at mid volume.
- Temperature: We have one heater in the space so it’s warmer than outside but still cool.
Sensory content
Noise:- 00:00 – 00:35: Loud, high-pitched shrilling sound
- 02:49 – 02:53: High-pitched shrilling sound
- 19:36 – 20:17: High-pitched, raspy metallic sound
- 24:05 – 24:25: High-pitched glitch-like shrill sound
- 00:23 – 00:33: Flashing images
- 24:11 – 24:27: Glitching white-noise images
Seating & WALKING CANES
Two types of seating are available:- A single bench
- Chairs with backs
- There are 2 walking canes available for visitors who would like extra support.
Support Animals
- Support animals are welcome.
- Drinking bowls will be provided.
COVID Safety
- The exhibition space is medium-sized (3.95m × 6m × 4m), which may limit air circulation when crowded.
- We provide N95 masks and hand sanitiser at the entrance.
- We encourage visitors to test before attending and to wear a face mask during the exhibition.
Scent-Conscious Space
- To help keep VSSL safe for everyone, please avoid wearing perfume or scented products whenever possible.
Toilets
- There is one toilet located along the Resolution Way fenced path, two doors down from VSSL.
- It is gender-neutral and wheelchair accessible.
The toilet includes:
- One hinged rail and one vertical rail beside the toilet
- Two vertical rails by the sink
- An emergency cord that reaches the floor (on the right side of the toilet)
The toilet door is heavy and opens manually outward. VSSL team are happy to provide assistance.
Smoking Area
- Smoking areas will be clearly marked.
- Please do not smoke near the entrance to VSSL.
Emergency Exit and Assembly Point
- Emergency exits are clearly marked throughout the space.
- The Designated Assembly Point is in the Tidemill Way car park, near the gates.
- In case of emergency, VSSL staff will guide visitors safely to the assembly point.
Credits
BASSAM ISSA AL-SABAH AND JENNIFER MEHIGAN: BIOLYTIC DAUGHTER as part of ENTANGLEMENTS OF THE APOCALYPSE is co-curated by Mine Kaplangı, Benjamin Sebastian, Joseph Morgan Schofield and Ash McNaughton. The programme is made possible with public funding from the National Lottery and Arts Council England and Cultúr Éireann (Culture Ireland). This exhibition is supported by Carefuffle who are assisting the VSSL team and the artists to make the exhibition more accessible.
Untitled image from project Abscission by Dani d’Emilia. Photographed by Gabz404. Brazil. 2023 - (IMAGE DESCRIPTION: A topless person lies on a patch of grass, shown from shoulders to hips. They have healing top surgery scars across their chest and a circular geometric tattoo in the center of the upper chest. Wearing white medical gloves, they hold a large curved amethyst crystal cluster against their abdomen. Their arms rest slightly outward on the grass, revealing additional tattoos on their forearms).Between 6th and 13th December 2025, Dani d’Emilia will be artist in residence at VSSL Studio as part of our current programme, Entanglements of the Apocalypse. Launching their residency, Dani will give an Artist Talk on 6th December (15.30 - 17.00) at VSSL Studio.
Dani’s work deviates from binary logics across both gender and broader modern-colonial paradigms. Their practice explores performance-pedagogy as a site for political practices of healing. This art-life work investigates pathways to metabolic intimacy as an antidote to the illusion of separability.
Dani’s work deviates from binary logics across both gender and broader modern-colonial paradigms. Their practice explores performance-pedagogy as a site for political practices of healing. This art-life work investigates pathways to metabolic intimacy as an antidote to the illusion of separability.
During their artist talk, Dani will offer a brief history of their work with Radical Tenderness, and introduce and open a conversation around a new project, Abscission.
Rooted in Dani’s experiences of hysterectomy and neutral mastectomy, Abscission aligns personal processes of release with larger systemic rhythms, exploring how letting go can be both an act of regeneration and a threshold for transforming broader relational fields and reactivating visceral response_ability.
Rooted in Dani’s experiences of hysterectomy and neutral mastectomy, Abscission aligns personal processes of release with larger systemic rhythms, exploring how letting go can be both an act of regeneration and a threshold for transforming broader relational fields and reactivating visceral response_ability.
Untitled image from project Abscission by Dani d’Emilia. Photographed by Gabz404. Brazil. 2023 - (IMAGE DESCRIPTION: Two hands gently arrange large, folded pieces of skin-like, flesh-toned material with visible wrinkles and natural texture, laid on top of a banana leaf. The pieces are surrounded by a semicircle of pale blue orchids with pink and purple veining. The arrangement rests outdoors on green grass, creating a contrast between the organic, bodily appearance of the material and the decorative flowers).
booking information
Saturday 6th December
15.30 - 17.00
at VSSL Studio
︎︎︎ RSVPs essential - Book tickets HERE
About dani d’emilia
Dani d’Emilia is an artist and educator working at the intersections of performance, radical pedagogy, social justice, and eco-relational care.
A member of Gesturing Towards Decolonial Futures (CA/BR) since 2017 and formerly of La Pocha Nostra (US/MX, 2011–16), Dani teaches and collaborates on projects internationally, exploring how the arts can support ways of staying with the trouble and resisting disenchantment.
Their practice seeks to nourish cognitive, affective, and relational vitality amid deepening social and ecological crises.
www.danidemilia.com
Credits
DANI D’EMILIA as part of ENTANGLEMENTS OF THE APOCALYPSE is co-curated by Mine Kaplangı, Benjamin Sebastian, Joseph Morgan Schofield and Ash McNaughton. Entanglements Of The Apocalypse has been made possible with public funding from the National Lottery and Arts Council England.
Exhibition by Basel Abbas
and Ruanne Abou-Rahme
Installation view of ‘At those terrifying frontiers where the existence and disappearance of people fade into each other’ (2019). Courtesy of Basel Abbas and Ruanne Abou-RahmeOpening Hours
Opening Night:6pm to 9pm, Thursday the 22nd of January
Exhbition Run:
12pm to 5pm, 22nd of January to the 15th of February
Thurs to Sat (Closed Sunday to Wednesday)
at VSSL Studio
Still from ‘At Those Terrifying Frontiers Where The Existence And Disappearance Of People Fade Into Each Other’ (2019). Courtesy of Basel Abbas and Ruanne Abou-Rahme. At Those Terrifying Frontiers Where The Existence And Disappearance Of People Fade Into Each Other
“And so our need for a new consciousness at those terrifying frontiers where the existence and disappearance of people fade into each other” - Edward Said After the Last Sky.
Fragments from Edward Said’s most personal and poetic work After the Last Sky are repurposed to create a new script that reflects on what it means now to be constructed as an ‘illegal’ person, body or entity.
The script is turned into a song sung and performed by the artists as multiple avatars. Using a software that generates avatars from a single image the avatars in the video are all drawn from people who participated in the ‘March of Return’, that continue to take place on the seamline in Gaza, an area that has been under physical siege by the Israeli army since 2006.
40,000 people marched weekly to the military fence not only to break the siege but to be able to return to their villages and lands, protesters were killed, maimed and disabled week in and week out.
With the impossibility of the artists, who were also in Palestine, reaching the marchers and the marchers reaching them the avatars that are created create a composite between the original images and the artist as the performers of the avatars only a 100 km away.
The work attempts to rupture this impossible imposed distance in an act of intense proximity and new becoming. The algorithm in the avatar software renders the missing data and information (due to the low resolution of images circulated online) in the original image as scars, glitches and incomplete features on the avatar's faces.
By keeping and not ‘fixing’ these visible scars the work speaks not only to the violence of the material reality but to the often invisible and embedded violence of representation itself in the circulation/consumption of images and ultimately to the violence in the algorithm. At those terrifying frontiers thinks about how to continue, how to mutate, in order not only to survive but to generate resistant possibilities of being and breathing within impossible conditions of violence and erasure.
E-flux Journal #106
The work attempts to rupture this impossible imposed distance in an act of intense proximity and new becoming. The algorithm in the avatar software renders the missing data and information (due to the low resolution of images circulated online) in the original image as scars, glitches and incomplete features on the avatar's faces.
By keeping and not ‘fixing’ these visible scars the work speaks not only to the violence of the material reality but to the often invisible and embedded violence of representation itself in the circulation/consumption of images and ultimately to the violence in the algorithm. At those terrifying frontiers thinks about how to continue, how to mutate, in order not only to survive but to generate resistant possibilities of being and breathing within impossible conditions of violence and erasure.
E-flux Journal #106
Still from ‘At Those Terrifying Frontiers Where The Existence And Disappearance Of People Fade Into Each Other’ (2019). Courtesy of Basel Abbas and Ruanne Abou-Rahme. About Basel Abbas and Ruanne Abou-Rahme
Basel Abbas and Ruanne Abou-Rahme work together across a range of sound, image, text, installation and performance practices. Their practice is engaged in the intersections between performativity, political imaginaries, the body and virtuality. Across their works they probe a contemporary landscape marked by seemingly perpetual crisis and an endless ‘present’, one that is shaped by a politics of desire and disaster. They have been developing a body of work that questions this suspension of the present and searches for ways in which an altogether different imaginary and language can emerge that is not bound within colonial/capitalist narrative and discourse. In their projects, they find themselves excavating, activating and inventing incidental narratives, figures, gestures and sites as material for re-imagining the possibilities of the present. Often reflecting on ideas of non-linearity in the form of returns, amnesia and deja vu, and in the process unfolding the slippages between actuality and projection (virtuality, myth, wish), what is and what could be. Largely their approach has been one of sampling materials both existing and self-authored in the form of sound, image, text, objects and recasting them into altogether new ‘scripts’. The result is a practice that investigates the political, visceral, material possibilities of sound, image, text and site, taking on the form of multi-media installations and live sound/image performances.www.baselandruanne.com
Still from ‘At Those Terrifying Frontiers Where The Existence And Disappearance Of People Fade Into Each
Credits
BASEL ABBAS AND RUANNE ABOU-RAHME: AT THOSE TERRIFYING FRONTIERS WHERE THE EXISTANCE OF PEOPLE FADE INTO EACH OTHER as part of ENTANGLEMENTS OF THE APOCALYPSE is co-curated by Mine Kaplangı, Benjamin Sebastian, Joseph Morgan Schofield and Ash McNaughton. The programme is made possible with public funding from the National Lottery and Arts Council England.
Carefuffle
screening programme
IMAGE DESCRIPTION: A turquoise-to-white gradient background features a single, fictional sea creature depicted in two separate curled segments. The creature resembles a spiky, tentacle-like form with a bright orange surface covered in white bumps and fine protruding spines. Each segment curls into a loose spiral, together suggesting the shape of the letter ‘C.’ Centered between the two visible portions of the creature is the word ‘[CAREFUFFLE]’ in clean white text.
Booking Information
- Saturday the 14th of February
- More information coming soon
About carefuffle
Carefuffle is a disabled and queer-led working group rooted in the principles of care, interconnectedness, authorship and social justice.
We are dedicated to celebrating disabled and queer talent and genius. Our commitment to challenging the ableist narratives and socio-cultural exclusion comes from the belief in the wholeness of disability and access as a collective joy and shared responsibility towards a liberatory future .
When we say “Working Group,” we honour the community and everyone who has an impact on what we do and how we think, as well as the lineages of Disability Justice and Crip community wisdom that make our work possible. They generously share their wisdom, knowledge, and skills with us, profoundly influencing our practices and thought processes. Without them, Carefuffle would not exist.
www.care-fuffle.com
Access Information
- More information coming soon
Credits
CAREFUFFLE SCREENING PROGRAMME: WHEN THE TIME CUMS, WE RISE WET - as part of ENTANGLEMENTS OF THE APOCALYPSE is co-curated by Mine Kaplangı, Benjamin Sebastian, Joseph Morgan Schofield and Ash McNaughton. The programme is made possible with public funding from the National Lottery and Arts Council England.
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VSSL studio, Unit 8, 50 Resolution Way. Deptford, London, UK. SE8 4AL
Contact: info@vssl-studio.org - Join our mailing list & follow our Instagram, Linkedin & Facebook.
VSSL studio logo design by Ben Normanton.