Friday 8 July, 7-9pm
Tickets available on the door
Anne-Marie Copestake screening, discussion and selections from the LUX collection. Part of MIMC’s ‘Out Of The Box’ programme.
For this special screening, the Moving Image Makers Collective and LUX Scotland have invited Anne-Marie Copestake to present the first part of her new film about Margaret Benyon, a pioneer of holography as an artistic practice. She has also selected a number of works from the LUX collection which will frame an open conversation after the screenings with Luke Collins (Deputy Director, LUX Scotland).
‘Back As Front, Inside As Out’ (2015) considers the early period as holography developed focusing on Benyon’s explorations into esoteric subject matter in unfamiliar media, foregrounding artistic pursuit through rigorous action, optimism and discovery. Other works in this screening include Cathy Sisler Aberrant Motion 1 (1993) and Steve Sutcliffe‘s Plum (2012).
Anne-Marie Copestake is a prolific and subtle artist who has lived and worked in Glasgow since the 90s when she initiated Trigger Tonic, in which she paired local with visiting artists for intense, revealing conversations. In 2011 Copestake was an early recipient of the Margaret Tait award, producing ‘And Under That‘ (2012) which developed visual associations and a scenario wherein a questioning of histories and potential comes from two older women, who are not presented as fixed or finished but with possibilities and ideas surrounding them. Copestake works across many forms (moving image, drawing, sculpture, music) and often in collaboration (with Fred Pederson, as part of Poster Club and as part of the band Muscles of Joy) bringing a delicate but rigorous touch to all her work.
LUX Scotland is a dedicated support and promotion agency for artists working with moving image in Scotland. Founded in 2014 with a new office at the CCA in Glasgow, LUX Scotland seeks to support artists working with moving image in Scotland through a range of activities including programming, professional development through our SUPERLUX programme and research through access to the collection. Please visit our website for full details (www.luxscotland.org.uk) or get in touch with us through email or on social media.
The ‘Out Of The Box’ programme is supported by Film Hub Scotland.
Still: ‘Back As Front, Inside As Out’, Anne-Marie Copestake (2015)
The winner of the 2016 Margaret Tait Award is Glasgow-based artist Kate Davis. Shortlisted along with artists Aideen Doran, Hardeep Pandhal, Catherine Street and Stina Wirfelt, Davis will receive a £10,000 commission to create a new piece of work, and the opportunity to present this work at Glasgow Film Festival in 2017.
Davis’ 2014 work ‘Weight‘ was produced as part of the Artists and Archives: Artists’ Moving Image at the BBC residency programme, supported by BBC Scotland, LUX and Creative Scotland. Taking a 1961 BBC documentary about Barbara Hepworth as its starting point, ‘Weight’ explores how televised depictions of creativity constructed our understanding of artistic production and other forms of labour.
On winning the 2016 Margaret Tait Award, Davis said, “’Working with the moving image has become an increasingly important part of my practice in recent years and the Margaret Tait Award will be invaluable in enabling me to realise my most ambitious and experimental moving image work to date. Inspired by the ways in which Margaret Tait’s films invite us to contemplate fundamental emotions and everyday activities that are often overlooked, I propose to investigate how the essential, but largely invisible and unpaid, processes we employ to care for others and ourselves can inform both the subject of my film and the way it is made.”
Born in New Zealand, Kate Davis lives and works in Glasgow. Previous projects include Cinenova Presents Now Showing, LUX Cornwall, St Ives; LUX/ BBC Artists and Archive commission; GENERATION exhibition, Scottish National Gallery of Modern Art; HOUSE WORK CASTLE MILK WOMAN HOUSE, Glasgow Women’s Library; Art Under Attack, Tate Britain. Forthcoming projects include a solo exhibition at Stills, Edinburgh.
The 2016 panel consisted of a diverse range of experts and curators in the field of visual arts and cinema, including Kirsten Body (Inverness Museum and Art Gallery), Sophia Hao (Cooper Gallery, Dundee), Paul Pieroni (GoMA, Glasgow), Gayle Meikle (artist/curator), Emma Nicolson (ATLAS Arts, Skye), Laura Simpson (Hospitalfield Arbroath), Stephen Sutcliffe (artist and previous Margaret Tait Award winner), Mark Thomas (Creative Scotland), Luke Collins (LUX Scotland) and Jane Hartshorn (Glasgow Film). 21 prominent Scottish artists were nominated for the award, and five were then shortlisted and asked to submit proposals, from which Davis was selected.
Still: ‘Weight’, Kate Davis, 2014
Revisiting the heyday of avant-garde filmmaking through a selection of canonical classics and rarely screened gems, this retrospective screening presents works by filmmakers involved in EIFF during the 1960s and ’70s. This programme of shorts comprises artists who either participated directly in the ‘International Forum on Avant-Garde Film’, or whose work was screened between 1976 and 1978 – the crucial years in EIFF’s engagement with avant-garde filmmaking.
The Thursday screening will be introduced by EIFF Black Box Curator Kim Knowles, and LUX Scotland Director Isla Leaver-Yap
‘Between the Frames’ (1976) by Sarah Child
‘Breakfast’ (1976) by Michael Snow
‘Chinese Chequers’ (1964) by Stephen Dwoskin
‘Inferential Current’ (1971) by Paul Sharits
‘Key’ (1968) by Peter Gidal
‘New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops’ (1976) by Owen Land
‘Rohfilm’ (1968) by Wilhelm & Birgit Hein
Image: ‘Chinese Chequers’, Stephen Dwoskin, 1964
This EIFF screening is organised in association with LUX.
In 1976, EIFF hosted two events: the ‘Psychoanalysis and Cinema Symposium’ and the ‘International Forum on Avant-Garde Film’. Forty years on, this year’s discussions look back at one of the most pivotal moments in the Festival’s history to explore its longstanding relationship with alternative film culture.
Through a series of intimate discussions, this day-long event interrogates the relationship between form and politics, and seeks out the synergies between then and now. Speakers include:
Director Lizzie Borden in conversation with LUX Scotland Director Isla Leaver-Yap;
Director and feminist theorist filmmaker Laura Mulvey in conversation with writer and lecturer Laura Guy;
and artist William Raban in conversation with British filmmaker Sarah Turner.
Image: EIFF Programme, 1976
A powerful and rarely seen classic of feminist filmmaking, Lizzie Borden’s ‘Regrouping’ returns to Edinburgh 40 years after its original premiere at EIFF 1976. Screened here for only the fourth time ever, this is a rare chance to see Borden’s first feature film.
‘Regrouping’ explores the dynamics among the members of a women’s group. As Borden interviews people who know them, such as Joan Jonas, the group shoots ‘artistic’ scenes of themselves – but Borden feels they aren’t fully grappling with issues of sexuality and politics. Are they a serious group – or just friends? After showing an early edit of the film to the group, its members, upset, closed ranks. Undeterred, Borden incorporates the group’s arguments into another edit, filming larger groups commenting both on the original one and on consciousness-raising groups in general.
This screening is a co-presentation by EIFF’s Black Box curator Kim Knowles, and LUX Scotland.
Still: ‘Regrouping’, Lizzie Borden, 1976
LUX Scotland presents ‘Nightcleaners’ (1975), a documentary made by members of the Berwick Street Collective. The film follows the campaign to unionise women who cleaned office blocks at night, who were victimised and underpaid. Intending at the outset to make a ‘campaign film’, the Collective was forced to turn to more avant-garde forms in order to represent the forces at work between the cleaners, the Cleaner’s Action Group and the unions, as well as the complex nature of the campaign itself. An intensely self-reflexive film that implicates both filmmakers and audiences in the process of precarious and invisible labour, it has become recognised as a key work of the 1970s and an important precursor to current political art practice.
This screening is part of GFT’s Crossing the Line strand.
Still: ‘Nightcleaners’, Berwick Street Collective, (1975)
We’re delighted to announce our latest endeavour: LUX Scotland at Glasgow School of Art Library, a dedicated artists’ moving image library. We have been working together, drawing from LUX and LUX Scotland’s expansive relationship with artists’ moving image, and the GSA Library’s facilities to bring you Scotland’s first dedicated library for artists moving image. This resource will enable GSA students and library members to gain access to a world of moving image artworks; from early work emerging from the London film cooperatives that gave birth to LUX, through to contemporary practice in Scotland and beyond. We invite you to explore the relationship between books and moving image, and the rich history of moving image within art.
As well as being open to existing library members, we are pleased to offer a reduced membership fee to all SUPERLUX members at £25 a year (discounted from £40). To become a member, visit the GSA Library with your SUPERLUX membership number. Fill out an External Borrower Membership form and your card will be posted to your home address within 7-10 days.
The LUX Scotland resource is accessed within the GSA Library. Library staff will buzz visitors through the turnstiles or gate at the Library entrance on the corner of Renfrew Street and Scott Street. The resource is on display in the second floor space by the DVD collection, next to a television where you can watch titles. During term-time, GSA Library is open 7 days a week, 8am-10pm Mon-Fri and 8am-6pm Sat-Sun. You can find out more here.
Browse LUX Scotland at GSA Library here.
Click to find out more about becoming a member of SUPERLUX.
Image: Margaret Tait, subjects and sequences, 1960
LUX Scotland presents Stephen Dwoskin’s powerful ‘Pain Is…‘ (1997), an unflinching film that examines the role of pain within society. Attempting “to make an image of pain”, Dwoskin’s feature is practical and philosophical: a seamless blend of film culture and social activism.
“Pain Is… combines interviews, archival footage and Dwoskin’s thoughtful voice-over to arrive at a scrupulous anatomy of pain (encompassing disease, dental work and sadomasochism). The interviews range from those who suffer from chronic pain to those who find pleasure in wilfully inflicting pain.” (Dennis Lim, director of Film at Lincoln Centre NYC)
A teacher, designer, photographer, film director and producer, Dwoskin (1939-2012) began making films in New York in 1959 against the avant-garde backdrop of Jonas Mekas’ Film Co-op and Andy Warhol’s Factory. Dwoskin went on to become a co-founder of the London Film-Makers’ Co-Op, which was established 50 years ago and is a precursor to LUX and LUX Scotland.
This screening is introduced by LUX Scotland Director Isla Leaver-Yap for GFT’s Crossing the Line strand and is presented as part of The Radical Film Network Festival & Unconference.
Still: ‘Pain Is…‘, Stephen Dwoskin, (1997)
7pm Tuesday 5 April
Led by LUX Distribution Manager, Matt Carter, this is an open forum discussion about the many forms of distribution as a practice.
LUX is the largest distributor of artists’ moving image in Europe, with over 7,000 works in its collection and titles that date from silent cinema of the American avant-garde to works made in 2016. But what is distribution? How does it work for artists? Is it more than a service?
Drawing on case studies from Modern Edinburgh Film School, the Walker Arts Centre (Minneapolis) and Ruangrupa (Jakarta) to consider national and international projects, this event will explore the practical and conceptual potential for distribution, considering it as a practice, as subversion, and as preservation.
SUPERLUX Dialogues is LUX Scotland’s ongoing series of conversations that invite guest speakers to explore practical issues for artists working with the moving image.
LUX Scotland’s new membership programme SUPERLUX is generously supported by Esmee Fairbairn Foundation. If you’re not yet signed up, it’s free and easy to become a member, sign up now or at our events to keep up-to-date on future opportunities.
Matt is Distributions Manager at LUX, London and was previously co-director of Sierra Metro Gallery, Edinburgh 2009 -2012. He studied MA Fine Art at Edinburgh University and Edinburgh College of Art and completed an MSC by Research in History of Art at Edinburgh University in 2011. Carter’s work has been included in exhibitions and screenings in London, Edinburgh and Newcastle. He has worked on production and curatorial projects including ‘BRINK’ for CGP London, ‘Looking, Mediated’, a touring programme for LUX Scotland, alongside projects for LUX, British Council, Art Licks, Maria Stenfors Gallery and Pumphouse Gallery.
Image: Lis Rhodes, Light Music, Paris (1975)
13:30, 14:30, 15:30, Saturday 9 April
Tickets: Advance sales have sold out. Limited tickets at CCA Box Office on the day.
For Counterflows Festival, Florrie James & Ross Little with Dick 50 will perform material they have recently shot in Cuba and Mexico, as part of a new collaboration in a specially configured cinema space.
Comprising three 20-minute audio visual performances of new material, this unique event explores a single character’s consciousness through multiple guises. In the artists words, “by physically and digitally obscuring and filtering the image and subject, we hope to evoke emotional and sensorial states of mind.”
Don’t miss LUX Scotland’s contextual screening and discussion, An encounter with expanded cinema on Friday 8 April, 17:45pm, CCA.
Image courtesy Florrie James, 2016
16:45, Friday 8 April
Tickets: Advance sales have sold out. Limited tickets at CCA Box Office on the day.
This screening is a rare opportunity to see works by American artist Paul Sharits. Declarative Mode (1976-77) and Razor Blades (1965) are both syncronised, dual 16mm projections that epitomise his structural and minimal approach and reach for, as he described it, ‘the higher drama of celluloid’. Also showing is Sharits’ Word Movie (1966) and Michael Snow’s SSHTOORRTY (2005).
Image from Untitled (Frozen Film Frame), 1971, Paul Sharits
Nomination Deadline: Monday 4 April 2016
We’re excited to announce that nominations are now open for the seventh year of the Margaret Tait Award, supported by Creative Scotland and LUX. Anyone can nominate, but artists cannot nominate themselves.
The aim of the Margaret Tait Award is to support experimental and innovative artists working within film and moving image, providing a high profile platform for them to exhibit their work and engage with a wider audience. The award will be given to a Scottish or Scotland-based artist who has developed a significant body of work within film and moving image over the past 3–10 years and is at the cusp of a major impact on the sector.
The recipient of the award will receive a £10,000 prize to create new work and the opportunity to present it at the Glasgow Film Festival in 2017. Previous winners include, Duncan Marquiss, Charlotte Prodger, Anne-Marie Copestake, Torsten Lauschmann and Sarah Forrest.
Who can be nominated?
Artists who are Scottish and/or based in Scotland.
Artists who have developed a significant body of work over the past 3–10 years and are at the cusp of a major impact on the moving image sector.
There is no age restriction.
We regret that we cannot accept nominations of artists who are students.
How to Nominate:
Please send 200 words on the artist’s career to date, their impact on the sector and your reasons for nominating. Be sure to include a link to the artist’s website or an online example of their work as well as the artist’s email address and phone number.
Applications should be sent by email only to email@example.com
Deadline for nominations is 9am on Monday 4 April 2016
6.30pm Wednesday 24 February
Cooper Gallery, Dundee
Free. Book online.
Film-maker and artist Miranda Pennell will be joined by Isla Leaver-Yap (Director, LUX Scotland) for an In Conversation, expanding upon Pennell’s practice and thinking around performance in relation to the moving image and the tension between still and moving image. Pennell’s recent films including Why Colonel Bunny Was Killed (2010) and You made me love you (2005) and others will be screened during the evening.
Miranda Pennell is an artist and film-maker living and working in London. She originally trained in contemporary dance and later received an MA in Visual Anthropology from Goldsmiths, University of London. Pennell has produced a body of award-winning film and video work that explores forms of collective performance, whether dancers, soldiers or fight directors. Her most recent moving-image work uses colonial archives as the starting point for investigations into the colonial imaginary.
Image: Miranda Pennell, Why Colonel Bunny Was Killed, 2010. Courtesy artist and LUX
Saturday 19 March
Application Deadline, 5pm, 2 March
As part of Glasgow Short Film Festival 2016, taking place between 16 – 20 March, SUPERLUX will present a one day pitching workshop, giving 6-8 moving image artists the opportunity to screen their work to a panel of industry experts. The day will culminate in the selection of one artist, who will be awarded £400 as part of our new SUPERLUX Research and Development Scheme.
What is the work that goes into a film before it is made? How can you fund the early stages of your research? And what are the best ways to share ideas about your project as it develops?
This workshop will answer these questions, provide practical and professional advice, prepare you to ‘pitch’ your project, and: offer a cash award as part the SUPERLUX Pitch, a new initiative to support visual artists in developing ambitious moving image projects.
The SUPERLUX pitch is a day-long workshop for participants selected through open call. It will introduce artists to the methodologies of film production; forms of research and development; and advice on how to effectively pitch moving image projects to funders, partners and financiers. During the day, participants will have the opportunity to make a practice pitch, discuss and get feedback from the course conveners, other participants, and an expert panel who will award a new SUPERLUX Research and Development Award of £400 to the most promising project.
1.30pm, Saturday 27 February
Glasgow Film Theatre (GFT)
Book through GFT Box Office
Join artist Margaret Salmon for an exclusive director’s preview of her forthcoming film Eglantine, an intimate and vivid account of a young girl’s real and fantastical adventure in a remote forest one evening. This film is a contemporary tribute to classic children’s films (Ray Ashley’s Little Fugitive, Jean Renoir’s The River, Albert Lamorisse’s The Red Balloon), and to celluloid nature studies of the past, such as Mary Field’s Secrets of Nature series. Shot on 35mm in various locations around Scotland, this special preview cut of Eglantine gives an insight in to the production process of a film which will combine a range of cinematic genres and techniques, from carefully-observed wildlife documentary to narrative drama and interpretative sound.
6.30pm, Sunday 21 February 2016
Clubroom, CCA Glasgow
Free tickets available from CCA Box Office on the day
Scotland is a country that produces internationally acclaimed work, but what are the necessary conditions to develop on these successes? LUX Scotland moderates a panel discussion that explores the national climate for producing ambitious experimental film and artists’ moving image in Scotland. Drawing on the expertise of artists, filmmakers, creative producers, industry experts and funders, the panel is composed of: Turner Prize-nominated artist Luke Fowler; director of Collective Gallery Kate Gray; artist Lyndsay Mann; producer Katie Nicoll; producer Kate Parker; and moderated by Director of LUX Benjamin Cook. This panel will be open to your questions, and asks: how this sector can build on its foundations to better support artists’ ambitions for the future?
3.30pm, Sunday 21 February
Book tickets through GFT Box Office
For the first in our presentations at Glasgow Film Festival 2016 (#GFF16), LUX Scotland presents Copy Errors with artist Duncan Marquiss. Prefacing the premiere of his Margaret Tait Award film Evolutionary Jerks & Gradualist Creeps, Copy Errors is Marquiss’ curated programme of research material and archival films that has informed his award-winning work. From artists’ films to interviews with natural scientists and musicologists, Copy Errors reflects on the analogies and differences between biological evolution and cultural processes. This programme will be followed by a discussion between the artist and Isla Leaver-Yap, Director of LUX Scotland.
For more information about the Margaret Tait Award you can find out more about previous winners over at Glasgow Film, read about LUX Scotland’s involvement in the Award and Residency programme, and hear our SoundCloud about how to apply for the annual award.
This screening is produced in collaboration with Glasgow Film, the commissioners of the Margaret Tait Award.
7.30pm, Monday 22 February
Glasgow Film Theatre (GFT)
Book tickets through the GFT Box Office
Margaret Tait Award-winning artist Duncan Marquiss presents the world premiere of Evolutionary Jerks & Gradualist Creeps, his 30-minute film that examines revolutionary theories of evolution.
Evolutionary Jerks & Gradualist Creeps features interviews with two evolutionary biologists, Niles Eldredge and Armand Marie Leroi, in which they discuss the controversies surrounding Eldredge’s theory of Punctuated Equilibria – a stepped-change picture of the history of life within the fossil record, which Leroi also sees in the evolution of pop music. The conversation considers the analogies and differences between the cultural and the biological realms, taking in Eldredge’s vast collection of brass musical instruments and Leroi’s burgeoning ‘science of culture’, which uses algorithms to trace cultural genealogies. This dialogue is interwoven with a diversity of footage shot by Marquiss, drawing on Eldredge’s pattern of evolution as a cue for image-making processes and editing structures.
Named after acclaimed Scottish experimental filmmaker Margaret Tait, Glasgow Film Festival’s annual award is supported by Creative Scotland and LUX, and recognises Scottish artists and Scotland-based artists who work within film and moving image in an experimental and innovative way.
5pm, Saturday 27 February 2016
Free tickets available from CCA Box Office on the day
Margaret Salmon presents her first 35mm feature Eglantine in a special preview screening at #GFF16, Sat 27 Feb (1.30pm, GFT). This Director’s Lab is a chance for you to meet the director and hear about the experience of being both director and director of photography (DOP), Salmon’s transition from working with 16mm to 35mm, and what it’s like to work on location in Scotland.
This open session is a unique opportunity to learn about producing a first feature and is suitable for anyone with an interest in artists’ moving image, or a desire to make their own films or learn more about the production process.