LUX Scotland takes a holiday

Posted on July 31st, 2017 by LUX Scotland

Our offices will be closed to the public throughout the month of August, but we’ll be back in action with a public programme and more professional development opportunities from September onwards.

Image: Laure Prouvost, Wantee, 2013. Courtesy of the artist and LUX.

SUPERLUX Bursary Place for Berwick Film & Media Arts Festival 2017

Posted on July 31st, 2017 by LUX Scotland

Deadline: Tuesday 22 August, 10am

We are pleased to offer one bursary place to a SUPERLUX member to attend Berwick Film & Media Arts Festival, which takes place from 20–24 September 2017.

Berwick Film & Media Arts Festival (BFMAF) is one of the UK’s leading festivals for new cinema and artists’ moving image. Based in England’s most northerly town, BFMAF is a dynamic forum where fresh artistic voices develop and audiences hungry for complex and challenging art are nurtured. Increasingly recognised for its innovative programme and critical engagement, BFMAF presents artists’ and filmmakers’ work in the cinema as well as expanded formats of exhibition and performance.

The bursary will cover a 5-day festival pass, return travel to Berwick and 5 nights’ shared accommodation at Berwick YHA (dormitory with kitchen and café facilities, shared with others attending the festival).

Following the festival, bursary recipients are required to produce a short response reflecting on their experience to be published on the SUPERLUX website.

To apply for this bursary opportunity, please complete the form on the SUPERLUX website explaining why you are interested in attending the festival and how this will benefit your current research and practice in 150 words or less. SUPERLUX members must be based in Scotland in order to be eligible.

The deadline for applications is 10am on Tuesday 22 August. We will inform the successful bursary holder by 6pm on Thursday 24 August.

With thanks to Berwick Film & Media Arts Festival for their bursary support.

SUPERLUX Group Travel to Berwick Film & Media Arts Festival 2017

Posted on July 30th, 2017 by LUX Scotland

LUX Scotland will be organising group travel from Glasgow, offered at a discounted rate, for SUPERLUX members to attend Berwick Film & Media Arts Festival (20–24 September 2017).

The SUPERLUX group will travel together by train from Glasgow to Berwick, departing on the morning of Friday 22 September and returning on the evening of Sunday 24 September. Tickets will cost approximately £16 per person. Please email by 10am on 14 August if you are interested in travelling as part of this group. Please note that this ticket price is not guaranteed until we know the size of the group.

Berwick Film & Media Arts Festival (BFMAF) is one of the UK’s leading festivals for new cinema and artists’ moving image. Based in England’s most northerly town, BFMAF is a dynamic forum where fresh artistic voices develop and audiences hungry for complex and challenging art are nurtured. Increasingly recognised for its innovative programme and critical engagement, BFMAF presents artists’ and filmmakers’ work in the cinema as well as expanded formats of exhibition and performance.

Events / News / Screening
Screening: LUX Scotland presents ‘The future, in a choral style’

Posted on June 21st, 2017 by LUX Scotland

Sunday 30 July, 7.45pm
GFT, Glasgow
Book Tickets, £9.50/ 7.50 concessions

It is possible that what motivates me as an artist is the same as what motivates me as a practitioner of the healing arts. Although my artistic motivations are more ‘self-oriented– certainly as a young artist it was part of my own act of survival.

Tanya Syed

Taking the work of Tanya Syed as a starting point, this event aims to unpack themes of musicality, occupation as artwork, and what it means to sustain an artistic practice over time. The other works in this programme by Tony Conrad, Glenn Gould and Manon de Boer are an attempt to draw out the relationship between the musicality in Syed’s films, and the aforementioned correspondence between life and work.


Tony Conrad, Pythagoras, Refusing To Cross The Bean Field At His Back, Is Dispatched By The Democrats, 1995, extract from audio, 3 min 50 sec
Tony Conrad (1940-2016) was an American experimental filmmaker, musician and composer who pioneered both structural film and drone music. From the 1960s he exhibited and performed widely and collaborated with various artists, including Faust in 1972. Solo releases included Early Minimalism Volume 1 and Slapping Pythagoras (both in 1995) and Four Violins (1964) in 1996.

Tanya Syed, Delilah, 1995, 16mm transferred to SD video, 12 min
Located in the darkness, a place of no boundaries, ‘Delilah’ is a ‘meditation on violence’, love and survival. Interchangeable elements weave a ritual, creating a dialogue of forces that shifts boundaries. This conversation of gesture and sound moves through tension and release, power and abandon.

Tanya Syed, Salamander, 1994, 16mm transferred to SD video, 12 min
The film is set in a fast food take-away, at a roundabout where the excess of traffic, light and sound forces us into dream space. Projections of desire and place are carved into this nocturnal city. Moments of convergence and detachment intercut, forming narratives of expectation. Notions of home surface in this place of inherent transience, where only some gestures mark a continuity, where time and people pass through.

Glenn Gould, The Idea of North, 1967, extract from audio (radio), 9 min 44 sec
An extract from Gould’s first ‘contrapuntal radio documentary’ and the first instalment in his ‘Solitude Trilogy’. Originally broadcast in Canada on the CBC Radio in 1967. An anthropologist, sociologist, a nurse, and a surveyor discuss the subjective ‘idea’ and the reality of the North. Montage and voice counterpoint are used to express the antagonism and scope of the country, the loneliness and isolation, the warmth of community living.

Manon de Boer, One, Two, Many, 2012, 16mm transferred to HD video, 22 min
The film ‘One, Two, Many’ is made up of three performances: a flute piece with continuous breathing, a spoken monologue, and a song by four singers in front of an audience. Starting from different audio-visual perspectives, each section explores the existential space of the voice. Connecting the three performances are the central themes of the individual’s body, listening to the other, and finding the right distance for multiple voices in a social space.

Tanya Syed, Chameleon, 1990, 16mm transferred to SD video, 4 min
A woman surfaces within an interior landscape where she is both trapped and contained. From the depths of dream through the ‘thin veils of matter separating the outside from the inside’ where we are either seen or made invisible. Through rhythmic intercutting the film moves silently towards a point of confrontation with the outside world, emphasised by the film’s only sound.

The future, in a choral style is curated by Nick Thomas.

This screening is part of GFT’s Crossing the Line strand.

Image: Tanya Syed, Salamander, 1994. Image courtesy of the artist and LUX.

Collection / Events / News
Event: Towards a Collection of Artists’ Moving Image in Scotland

Posted on June 20th, 2017 by LUX Scotland

Tuesday 25 July, 6-9pm
Hawthornden Lecture Theatre, National Galleries of Scotland, Weston Link, The Mound, Edinburgh EH2 2EL (Please enter through the back door of the Royal Scottish Academy Building)
Free, ticketed via Eventbrite

Following the launch of the LUX Scotland Collection project in Glasgow in January 2017, this event continues a series of public dialogues around the establishment of a new distribution collection of artists’ moving image based in Scotland.

The LUX Scotland Collection is intended as a public resource to map and consolidate a lineage of moving image culture in Scotland; to make this work publicly accessible through distribution; and to enhance the national and international profile of this work through exhibition, touring, research and publishing. LUX Scotland is developing the collection as an open research project, working in consultation with the arts community across Scotland on the question of what it means to build such a collection and what it might comprise.

This event will analyse how artists’ moving image has been collected in Scotland, excavating the reasons and motivations behind decisions made around the development of public collections. Through a series of presentations tracing the processes, aspirations and issues that institutions face as a moving image work passes through its doors and into its collection, the event will aim to address some of the following questions:

How does a collection come into being?

What does it mean to bring works together in a collection?

Why should artists’ moving image works be collected?

How are acquisitions and curatorial research financed and supported?

Who decides what to acquire and how are these parameters defined?

How does a moving image collection sit within the context of the broader museum collection?

What are the particular challenges faced in documenting, caring for and ensuring the longevity of artists’ moving image works?

How does the growing complexity of digital technology and its lack of fixed materiality create risks for preservation?

What considerations need to be taken into account in the lending and exhibition of artists’ moving image?

How can museums’ standard loan practices better accommodate the specific needs of moving image works?

Each presentation will provide an in-depth focus on one aspect of the collection process – from funding and strategy, to acquisition, preservation and exhibition – followed by a panel discussion. Speakers include Brian Castriota (time-based media conservator and doctoral candidate, University of Glasgow), Will Cooper (Curator of Contemporary Art, Gallery of Modern Art, Glasgow), Julie-Ann Delaney (Curator, Scottish National Gallery of Modern Art), Robert Dingle (Contemporary Projects Manager, Art Fund), Rachel Maclean (Artist, Scotland + Venice 2017, British Art Show 8), and Kirstie Skinner (Director, Outset Scotland and editor and lead researcher, Collecting Contemporary: Curating Art Collections in Scotland).

Image: Hito Steyerl, Abstract, 2012, Two channel HD video with Sound, 7.30 mins. Presented to GoMA by the Contemporary Art Society through the Collections Fund, 2016. Image courtesy of the Artist and Andrew Kreps Gallery, New York.

Events / News / Screening
Screening: LUX Scotland presents ‘The Discreet Body’

Posted on June 20th, 2017 by LUX Scotland

Tuesday 18 July, 7pm
Transmission, Glasgow
Free, ticketed via Eventbrite

This collection of works considers the sometimes overlooked, but no less significant, experiences pertaining to gendered space, professionalism, the importance of gender visibility, as well as the desire not to be seen.

These videos by Lucy Clout; Women in Manual Trades; and Vanalyne Green, and film by Rosalind Nashashibi, access such subjects with diverse and subversive approaches, and cast light over ideas and issues of public space and women’s experience within it, which often fall between the cracks.

Curated by Alice Lea, first shown at LUX in June 2016.

If you require lift access to the venue please email so it can be arranged.


Lucy Clout, From Our Own Correspondent, 2015, HD video, colour, sound, UK / USA, 10mins

The video begins with an animated woman (a profile) who is simultaneously rehearsing alone in a hotel room and replaying her day. She nods and grimaces along to imagined subjects testimony, performing private rituals of productivity and inactivity in a half-dressed state. In the final section that same profile tells a story in which her own sexual life is intermingled with the (retroactively) shame-filled direct messages of a disgraced politician. The work is interested in pleasure, comfort, shame and the desire to be both witnessed and unseen. It’s a video about being and not being intertwined with others, it is about what a woman might need from other people and how she might go about getting it.

Commissioned as part of the Jerwood/FVU Awards. A collaboration between Jerwood Charitable Foundation and FVU in association with CCA, Glasgow and University of East London. FVU is supported by Arts Council England.

Women in Manual Trades, Building Your Future, 1980, SD video, colour, sound, UK, 27mins

This tape is about women working in the building industry. A series of interviews with a plumber; plasterer; carpenter; bricklayer; electrician; a painter and decorator, who speak of their experiences and interests, from joining the profession to aspirations for their future careers.

Vanalyne Green, A Spy in the House that Ruth Built, 1989, SD video, colour, sound, USA, 29mins

Inspired by art historian Carol Duncan’s ideas about how public spaces are gendered and by artist Fred Lonidier’s observation that socially progressive artists rarely seize on sports as subject matter for their art, I wanted to create something that could take baseball’s symbolism and stand it on its head — its womblike stadiums and its cycles and rituals. And I wanted to make something that perhaps could be funny, heretical and yet devoted to a sport I love. VG

Rosalind Nashashibi, This Quality, 2010, 16mm, colour, sound, UK, 5mins

This Quality is a film shot in downtown Cairo. It comprises two halves: the first shows a 30-something woman looking directly at the camera, and sometimes acknowledging the existence of others around her who we cannot see. She has a beautiful face with eyes which seem to see internally rather than outwardly, they almost have the appearance of being painted on, suggesting the blindness of a mythological seer. The second half shows a series of parked cars covered with fabric. Each car suggests a sightless face, as the fabric stretched around the machine turns it into a face but also seems to hood the car so that it is conspicuously hidden, like a child covering his eyes.


Image: Rosalind Nashashibi, This Quality, 2010. Courtesy of the artist and LUX.

Events / News / SUPERLUX
SUPERLUX Masterclass with Dan Kidner: Radical Screens: exhibiting political cinema

Posted on June 20th, 2017 by LUX Scotland

Saturday 15 July, 2.00-5.00pm
CCA Clubroom, Glasgow
Free, ticketed via Eventbrite

The curator and writer Dan Kidner leads a Masterclass reflecting on his recent writing and exhibitions exploring the histories and historiographies of film and video’s radical past. Kidner will discuss the politics of UK filmmaking collectives from the 1970s such as the Berwick Street Film Collective and the London Women’s Film Group, the evolving distributive strategies developed for independent film and video, internationally, through the 1970s and 1980s, and the accommodation of this work by the institutions of contemporary art.

Dan Kidner was previously Director of Picture This, Bristol (2011–13), and Director of City Projects, London (2004–11). Over the past 10 years he has produced projects by many artists including Knut Åsdam, Anja Kirschner and David Panos, Cara Tolmie, Emily Wardill, James Richards and Jimmy Robert. His books include, with Petra Bauer, Working Together: British Film Collectives in the 1970s (2013) and with George Clark and James Richards, A Detour Around Infermental (2011). He writes regularly for Frieze and other magazines and journals. He most recently curated the exhibitions The Inoperative Community, Raven Row (3 December 2015 to 14 February 2016) and Rozdzielona Wspólnota (The Inoperative Community II), Muzeum Sztuki, Łódź, Poland (20 May to 28 August 2016).

Image: Leslie Thornton, Peggy and Fred in Hell: Folding, 1984-2015, installed at The Inoperative Community, Raven Row, 3 December 2015 – 14 February 2016. Courtesy of the artist, photograph by Marcus J. Leith.

Events / News / Screening
LUX Scotland presents: Culture and Matter with Steven Claydon

Posted on June 20th, 2017 by LUX Scotland

Wednesday 5 July, 7pm
Tramway, Glasgow
£3, ticketed via Tramway (transaction fees £1 online, £1.50 by phone)

LUX Scotland presents a screening of work by artist Steven Claydon to coincide with his current exhibitions at The Common Guild and Mount Stuart Trust. Unfolding a set of ongoing concerns explored across both exhibitions, this selection of films pushes and pulls at the rupture between the elemental materiality of things and the shifting values, histories and meanings that we assign to them. The programme will include Claydon’s recent commission for Art Sheffield 2016, Infra-idol Assembly, and will be followed by a Q&A with the artist.


The Ancient Set, 2008, video, 7 min 57 sec
Reminiscent of a music video and using found footage from the internet, this work is an early example of the artist’s use of video synthesizers.

The Fictional Pixel, 2008, video, 13 min 25 sec
Collaging together found material from an Apple iPhone promotional video, footage from historic re-enactments and veiled references to Martin Heidegger as represented by the motif of the Smurf, this video takes a closer look at one of the artist’s primary interests – man’s relationship with technology.

Mimicry Systems, 2013, DVD video, 3 min, 30 sec
Focusing on the concept of the prop, this work splices together filmed and found footage and uses analogue video synthesizers to distort a monolog narrative. Mimicry Systems was commissioned by the ICA for Channel 4’s Random Acts series.

Grid & Spike, 2013, video, 2 min 54 sec
Using a mix of archival footage and computer generated imagery, Grid & Spike interrogates the relationship between history and the contemporary. Also commissioned by the ICA for Channel 4’s Random Acts series, the work utilises an intervention into mainstream television as an opportunity to examine themes of repetition and duplicity.

Infra-idol Assembly, 2016, video, 12 min 29 sec
Sampling footage from an IBM stop-frame animation A Boy and his Atom, this work features a stick figure composed of individual atoms and draws on Claydon’s research into the material reality of the world at an atomic level. The video is accompanied by audio samples of the atoms being moved and sporadic voices generated by early IBM computer poetry. Infra-idol Assembly was commissioned for Art Sheffield 2016 and originally presented as an audio-visual installation within Sheffield’s Moore Street electricity substation, in which the audio sequence was mixed and amplified through a sculptural plate reverb unit.

Image: Steven Claydon, The Ancient Set, 2008. Courtesy of the artist and LUX.

Events / News / Screening
Event: LUX Scotland presents ‘What we learn in the shadows’: a dialogue between Benny Nemerofsky Ramsay & Liz Rosenfeld

Posted on June 20th, 2017 by LUX Scotland

Sunday 2 July, 2pm
CCA Clubroom, Glasgow
Free, ticketed via Eventbrite

The aesthetics of cruising extend far beyond the spaces and situations in which the hunt for sex takes place, offering itself as a means of threshold crossing, as an invitation in experimentation and empathy, and as a spiritual practice of acceptance and non-attachment. Cruising is a register of awareness, a mode of being, a gestural vocabulary replete with actions and inactions that subvert productive, normative ways of moving through space: stalling, idling, looping, back-tracking, pausing, watching, revealing, concealing, communicating non-verbally, abandoning.

Cruising exists both as subject and methodology throughout the artistic practices of both Liz Rosenfeld (Berlin) and Benny Nemerofsky Ramsay (Edinburgh), expressing itself not only in media and performance works, but also as an approach to research, writing, and of course, living.

Rosenfeld and Nemerofsky meet to talk, touch, and feel their way through the diverse ways cruising intersects in their lives and practices.

Benny Nemerofsky Ramsay is an artist and diarist. His artistic gestures in sound, video and text contemplate the history of song and the gender of voices, the rendering of love and emotion into language, and the resurrection and manipulation of voices – sung, spoken or screamed. In his work you will find bells, bouquets, enchanted forests, folding screens, gay elders, glitter, gold leaf, love letters, imaginary paintings, madrigals, megaphones, mirrors, naked men, sign language, subtitles, and the voices of birds, boy sopranos, contraltos, countertenors and sirens. His work is in the permanent collection of the Kunsthistorisches Museum Vienna, the Polin Museum for the History of Polish Jews in Warsaw, Thielska Galleriet Stockholm and the National Gallery of Canada. Nemerofsky is currently a PhD candidate at the University of Edinburgh, where he is part of the Cruising the 70s: Unearthing Pre-HIV/AIDS Queer Sexual Cultures research team.

Liz Rosenfeld is a Berlin-based artist utilising the disciplines of film, video and live performance to convey a sense of past and future histories. Rosenfeld is invested in concepts of how history can be queered and experienced through the moment and ways in which it is lived and remembered. She explores how we identify ourselves with in/out community and social poly-relationship configurations. Rosenfeld is part of the Berlin-based moving image production collective NowMomentNow and is currently the Goethe Institut Artist in Residence at LUX. During her residency, Liz will continue her creative body of research that she has been developing for the past year and a half for her first feature film, a futuristic queer speculative fiction work entitled FOXES. Central to her research are questions exploring queer dystopia, a positive embrace of human apocalypse, invisible genocide and the parallels between the way information was publicly disseminated in the early days of the AIDS/ HIV crisis, and the current state of climate change and environmental destruction.

Image: Benny Nemerofsky Ramsay, Grand Audrelisque, 2016. Courtesy of the artist.

Events / News / SUPERLUX
SUPERLUX Masterclass with nowMomentnow: DIY Filmmaking Tactics

Posted on June 20th, 2017 by LUX Scotland

Saturday 1 July, 2.00-5.00pm
CCA Clubroom, Glasgow
Free, ticketed via Eventbrite

Artists Liz Rosenfeld and Imogen Heath, co-founder of the Berlin-based moving image collective nowMomentnow, explore DIY filmmaking tactics in a masterclass presented as part of Rosenfeld’s current residency with LUX and the Goethe Institut. They will present their collaborative work and show excerpts of previous films, discussing production methods and more broadly situating their practice in terms of community building and DIY strategies for making video.

Following their presentation, they will lead a two-hour collaborative video-making activity, where participants will work together to make short video portraits for a ‘video time capsule’, intersecting nowMomentnow’s love for moving image and performance. Their experimental approach to video production uses discursive, non-linear tactics to reconfigure ideas of family and queer labour.

By putting nowMomentnow’s video-making strategies and techniques into practice, participants will aim to collectively envision what the group desires to ‘record, leave behind, bury, compost, burn, destroy, transmit and transform for a queer future/present or a completely alternative space-time continuum’.

Participants are encouraged to bring fun clothing and makeup to use as costumes, objects ‘to leave for the future’ or use as props. DIY green-screen tools will be used and camera equipment provided. No previous knowledge of video production is necessary to take part.

nowMomentnow began as an experiment between friends to disrupt prevalent modes of story-telling and art-making. Working with very little resources, DIY tactics, feminist and queer discourse, an aspiration to build community as an alternative narrative of content-production, and sustainable labour and art practices, nMn has made music videos, performances, films and installation work, as well as hosted events and film productions in Berlin and internationally.   

Events / News / Screening
Event: LUX Scotland presents George Clark, ‘On The Planter’s Art: An illustrated talk on films, maps and gardening’

Posted on June 19th, 2017 by LUX Scotland

Friday 30 June, 3pm
The Mitchell Library, Glasgow
Free, ticketed via Eventbrite

‘I am told there are people who do not care for maps, and find it hard to believe; here is an inexhaustible fund of interest for any man with eyes to see or twopence-worth of imagination to understand with!’ – Robert Louis Stevenson

‘The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious’ – Gilles Deleuze

Artist and curator George Clark will present this illustrated lecture looking at ideas of perspective, categorisation and interpretation in cinema and art. Drawing from research for his ongoing film projects in Hong Kong and Los Angeles, he will present and discuss a diverse range of subjects from the 16mm Kodachome films of Californian gardener Albert Wilson, the history of bird watching and illustration in colonial Hong Kong and the visionary 1980 Centre Pompidou exhibition on cartography Maps and Figures of the Earth/Cartes et figures de la Terre. Central to the talk is exploration of maps as ‘instruments of travel and discovery, as well as sophisticated tools to dream.’ The presentation will draw on the writings of Jorge Luis-Borges and Gilles Deleuze, film work by South American emigres in Paris such as Hugo Santiago and David Lamelas and Raul Ruiz’s rare film on maps and labyrinths made to accompany the Pompidou exhibition.

George Clark is an artist and curator. Recent work includes the film A Distant Echo (2016), which explores myth, history, and ecology in the desert, and the film Sea of Clouds / 雲海 (2016), which is structured around an interview with artist Chen Chieh-jen. His solo exhibition A Planter’s Art featured a new series of moving image works installed alongside a specially cultivated garden in Taiwan, and his ongoing project Eyemo Rolls draws on a growing body of 35mm films shown in dialog with other works as means to think about place and entanglement. He has curated projects for museums, galleries, cinemas, and festivals with a focus on broadening the histories of film and video practice globally. Through his work at Tate Modern (2013-2015) and in independent projects, he has curated retrospectives of Ute Aurand, Julian Dashper, Lav Diaz, Camille Henrot, Vlado Kristl, Luis Ospina, and Chick Strand, as well as thematic exhibitions on Japanese expanded cinema (with Julian Ross and Go Hirasawa), the L.A. Rebellion, and Infermental, the first magazine on videocassette (with Dan Kidner and James Richards).

Image: Cartes Et Figures De La Terre, catalogue cover, Centre Georges Pompidou, 1980.

Events / News / SUPERLUX
SUPERLUX Workshop with Liz Rosenfeld: Feeling Seen: laughing.crying.silence.

Posted on April 19th, 2017 by LUX Scotland

Wednesday 28 June, 10.00am-5.00pm
Tramway, Glasgow
Free, ticketed via Eventbrite

Join Berlin-based artist and current Goethe at LUX Resident, Liz Rosenfeld for an intense, physical workshop that aims to share a working practice that is central to her research. She describes this methodology (learned from dancers and choreographers Sigal Zouk and Jared Gradinger) as ‘a beautiful experience in emotional threshold crossing, togetherness and collectivity’. Her practice utilises film, video and live performance to convey a sense of past and future histories.

Rosenfeld is invested in concepts of how history can be queered and experienced through the moment and ways in which it is lived and remembered. She explores how we identify ourselves with in/out community and social poly-relationship configurations.

Workshop participants will collaborate and support one another to laugh for 1.5 hours, cry for 1.5 hours, and sit in silence for 1.5 hours. This will be followed by a group discussion about the temporality of collectivity, endurance, inner manifestations of self, and how this practice can enable participants to feel ‘seen’ and ‘unseen’.

This workshop is a safe space for queer LGBTQI, non-binary/non-gender conforming identified people. Everyone is welcome, but please come with this in mind.

Image: Liz Rosenfeld, Glimpse of Manipulated Still #3 (White Sands, New Mexico), 2017. Courtesy of the artist.

Events / News / Screening
Screening: LUX Scotland presents Queer Ecologies with Liz Rosenfeld

Posted on April 18th, 2017 by LUX Scotland

Tuesday 27 June, 6.00-7.30pm
Goethe-Institut, Glasgow
Free, ticketed via Eventbrite

Berlin-based artist Liz Rosenfeld will present a programme of films selected from the LUX Collection, which speak to and inspire the themes that she is currently researching while serving as the inaugural Goethe Institut Artist in Residence at LUX. During her residency, Liz has continued her creative body of research that she has been developing for the past year and a half regarding the themes and characters of her first feature film, a futuristic queer speculative fiction work entitled FOXES. Central to her research are questions exploring queer dystopia, a positive embrace of human apocalypse, invisible genocide and the parallels between the way information was publicly disseminated in the early days of the AIDS/ HIV crisis, and the current state of climate change and environmental destruction. The screening will be followed by a Q&A with Nicole Yip, Director of LUX Scotland, and an informal discussion with the audience.


Jenny Okun, Waves, 1978, 16mm, 3 min

Waves was hand wound though the camera backwards and forwards as the waves on a beach built up and broke on the shore.

Semiconductor, 20HZ, 2011, HD + HD 3D single channel, 5 min

20HZ observes a geo-magnetic storm occurring in the Earth’s upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz.

Jem Cohen, Drink Deep, 1991, SD video, 9 min

Drink Deep is a lyrical vision of friendship, hidden secrets, and desires. Cohen uses several types of film image to add texture to the layered composition. Beautiful shades of grey, silver, black and blue echo the water, reminiscent of early photography and silverprints.

Grace Ndiritu, Natural Disasters: Urban Myths, Urban Legends,  2007, SD video, 6 min
Grace Ndiritu, Natural Disasters No. 2 Tremor, 2007, SD video, 2 min 22 sec
Grace Ndiritu, Natural Disasters No. 3 Earthquake, 2007, SD video, 2 min 24 sec

In the Natural Disasters series nature is re-imagined through a game of absence and presence. Inner earthquakes and minor tremors, mirror ‘real’ disasters on a minute scale. The videos an attempt to continue the linage of environmental filmmaking started by the Koyaanisqatsi and Powaqqatsi films.

David Farringdon, Gentlemen, 1988, SD video, 15 min

‘I have tried to give a truthful picture of a taboo subject in an unbiased way, which I hope gives some reason to an occupation perceived by many as unreasonable – the gay sex/desire/frustrations in toilets.’ – David Farringdon

Barbara Hammer, Dyketactics, 1974, 16mm, 4 min

A popular lesbian ‘commercial,’ 110 images of sensual touching montages in A, B, C, D rolls of ‘kinaesthetic’ editing.

Luther Price, SODOM, 1989, 16mm, 25 min

SODOM is viscerally graphic and disturbing through its hypnotic mirage of human fragment absorbed in mutilation. Based on the biblical story, SODOM recreates this destruction through an editing style that lends itself to a kind of organic image breakdown, creating a collage of moving image.

Please note that this programme contains sexually explicit material that some audiences may find disturbing.

With thanks to Ann-Christine Simke and the Goethe-Institut.

Image: Luther Price, SODOM, 1989. Image courtesy of LUX and the artist.

Events / News / Screening
Screening: LUX Scotland presents Evan Ifekoya, ‘She Was a Full Body Speaker’ & Selected Shorts

Posted on April 17th, 2017 by LUX Scotland

Saturday 10 June, 7.00pm
Summerhall Red Lecture Theatre, Edinburgh
Free, ticketed via Eventbrite

LUX Scotland is pleased to present She Was a Full Body Speaker by interdisciplinary artist Evan Ifekoya.

Combining found footage from Rewind/Fast Forward with the artists’ personal archive, She Was a Full Body Speaker addresses blackness, sociality and inheritance diffracted through queer nightlife and trauma as an endless repetition.

A series of shorts selected by Evan Ifekoya will screen as part of the event, including Ursula ​MayerMedea (2013), Marlon RiggsAnthem (1991) and Alia SyedFatima’s Letter (1992).

Following the screening Evan Ifekoya will be in conversation with writer and lecturer Laura Guy.

This event takes place on the closing weekend of Evan Ifekoya’s solo exhibition A Net Made of Individual Knots at Embassy Gallery, Edinburgh.

She Was a Full Body Speaker has been made with a package of support from BFI, and Wellcome Trust as part of the Queering love, Queering hormones project and a grant from Heritage Lottery Fund as part of Rewind/Fast Forward. Thank you to Sandi Hughes for providing access to the Rewind/Fast Forward archive and to James Holcombe for the invaluable technical support at, Bethnal Green, London.

Image: Evan Ifekoya, She Was A Full Body Speaker, 2016. Image courtesy of the artist.

Events / News / Screening
Screening: LUX Scotland presents ‘From the Interior’

Posted on April 16th, 2017 by LUX Scotland

Thursday 25 May, 6.30-8pm
CCA Cinema, Glasgow
Free, but ticketed via Eventbrite

Telling stories from northern Midwest America. From award winning dog mushers to beloved pets, the felling of a neighborhood tree to the de-forestation of an entire region, this programme of eight short films highlights the concerns, affections, fears and curiosities of multiple artists based in the richly diverse Minnesota region, including:

Tree Work
By Kevin Obsatz
7 min | 2016 | Sound | Colour | Digital | USA
A document of the diligent and dangerous work of Minneapolis Arborists, and the last day of an old, dying tree in my front yard. Tree Work is a personal, autobiographical film about the changing landscapes of our daily lives and all the complexity we take for granted in our homes & neighborhoods.

Miss Rose Fletcher: A Natural History
By Laska Jimsen
17 min | 2007 | Sound | Colour | 16 mm | USA
Combining interviews and archival research with the lyricism of experimental film processes, Jimsen investigates the histories of several generations of residents living in Oregon’s once idyllic Willamette Valley, which is now giving way to industry and suburbia. Through a series of vignettes, two iconic figures emerge: Darrel Ebbert, a trapper and sheep farmer, and Vida Bullis, a dahlia breeder.

Kenilworth Sketch
By Sam Hoolihan
6 min | 2015 | Silent | Colour | 16 mm | USA
A silent meditation on light, time, and landscape.

O.U.R Ford
By Trevor Adams
6 min | 1998 | Silent | Colour | 16 mm | USA
A film portrait of my Grandparents. Margaret and Ike Nickel, were 1st generation immigrants from Germany who settled in a Mennonite community in the Midwest in the 1930’s.

By Richard Wiebe
16min | 2011 | Sound | Colour | Digital | Canada, USA
16mm footage and Edison Voicewriter recordings introduce to me a family I never knew. I see my dad, age 7 in 1943, stand in front of a movie camera. I see my grandparents, my aunt, my uncle and others now gone. I was born in North Carolina, decades later, but I imagine the movie we would make together about Saskatchewan.

White Dog
By Rini Yun Keagy
4.5 min | 2015 | Silent | Colour | Digital | USA
Soft white fur, gentle face. Four white legs, moving, elated. A human’s touch. A phantom. Before and after. A snug abode, another caress. Sock, a bandage. Four white legs, moving. Hide the malady. After and before. White leg, bare skin. White dog. Black matter.

The Interior
By Jonathan Rattner
23 min | 2015 | Sound | Colour | Digital | USA
Centered on the visual, sonic, and physical world of Brent Sass, an award-winning dog musher and Minnesota native, The Interior explores Sass’s homestead in Eureka Alaska, where he and his 56 dogs live and work. Rattner portrays the essence of what it’s like to live in a secluded landscape that is ripe with raw meat, snoring dogs, and frozen air.

Beaver Creek Yard
By Laska Jimsen
5.5 min | 2013 | Sound | Colour | Digital | USA
Exploring the human impulse to control, exploit, and profit from the natural world, Jimsen portrays a Christmas tree processing facility on Beaver Creek Road.

Programmed by Ruth Hodgins, programmer/ archivist, Walker Art Center, Minneapolis.

Image: Jonathan Rattner’s The Interior, 2015. Image courtesy of the artist.

Events / News / Screening
Screening: LUX Scotland presents ‘it feels right to me’

Posted on April 15th, 2017 by LUX Scotland

Wednesday 24 May, 8.45pm
GFT, Glasgow
Book Tickets, £9.50/ 7.50 concessions

This screening programme brings together live performance with artist moving image in a transatlantic coupling to explore multiple interpretations of Eros in contemporary art practice, with works from Nicole MillerKimberley O’Neill, Jacolby SatterwhiteDanielle Dean and Ursula Mayer. Positioning the event within the female experience and gathering the artworks under three erotic propositions; pleasure, perversion and assembly, the selected artists use ‘worldbuilding’ or in-between states to focus on Eros’ capabilities as a life force and as a mechanism of dissent.

The evening will also extend out from the screen with a new performance work chiffon sponge by Newcastle – based artist Nicola Singh in which images and words meet to apply direct and difficult pressure onto each other. The performance will use video projection, song and text to explore tense or hidden desires.

it feels right to me acknowledges the strength of the erotic into a true knowledge one that is difficult to explain in words but has a certain spiritualism that resides deep in the human psyche. It is a recalibration of the erotic beyond the explicit moving towards a life force in bodily desire.

This screening programme is drawn from artist curator Gayle Meikle’s current research into Eros as a guiding curatorial and institutional positioning.  The title it feels right to me is a quote taken from Audre Lorde’s 1984 publication Sister Outsider: Essays and Speeches.

Gayle Meikle is an artist curator based out of Newcastle Upon Tyne where she is undertaking a PhD in Fine Art exploring how a feminist art practice might speculate on multiple forms of a university gallery.

Image: Nicola Singh and Harriet Plewis, they go into a little room and they play a little drum, 2017, BALTIC 39, Newcastle (photo credit: Fiona Larkin).

Collection / Events / News
Event: Towards a Collection of Artists’ Moving Image in Scotland

Posted on April 14th, 2017 by LUX Scotland

Screening Programme and Roundtable Discussion
Wednesday 3 May, 5 – 8.15pm
Visual Research Centre, Dundee Contemporary Arts
Free, booking required via Eventbrite

Following the launch of the LUX Scotland Collection project in Glasgow in January 2017, this event continues a series of public dialogues around the establishment of a new distribution collection of artists’ moving image based in Scotland.

The aim of the LUX Scotland Collection project is to make artists’ moving image work publicly accessible on both a national and international level, and to explore how such a collection might function as a means of consolidating a lineage or tradition of moving image culture in Scotland. We are keen to develop the collection as an open research project, working in consultation with the arts community across Scotland on the question of what such a collection could comprise.

This event in Dundee will comprise Five Propositions, a screening programme for which we have invited five individuals working in different capacities across the arts and film sectors in Scotland to present and introduce a personal proposition for the collection. The programme will bring together works selected by the following contributors: Jacqueline Donachie (artist), Stephen Partridge (artist and Associate Dean of Research, DJCAD), Hari MacMillan (artist and committee member, GENERATORProjects), Laura Simpson (Programme Manager, Hospitalfield) and Pernille Spence (artist and lecturer & researcher in Time Based Art & Digital Film, DJCAD).

A roundtable discussion will follow, exploring the lineages of moving image practice and research that have come out of Dundee, as well as considering how the LUX Scotland collection might seek to encompass or acknowledge these histories and discourses. Beyond reflecting on the impact that new media and technologies have had on cultural production, invited speakers will also discuss the implications that digitisation has had (and continues to have) on questions around archiving, distribution and accessibility.

Speakers include Gair Dunlop (artist and Course Director in Time Based Art & Digital Film, DJCAD), Donna Holford-Lovell (Director, Fleet Collective and co-curator and trustee, NeON Digital Arts), Adam Lockhart (Archivist, Visual Research Centre, DJCAD) and Gayle Meikle (artist and curator). The roundtable discussion will be chaired by Luke Collins (artist and former Deputy Director at LUX Scotland).

With thanks to Duncan of Jordanstone College of Art and Design.

Installation shot: Forest is …, Kyra Clegg & Su Grierson, 2015. Courtesy of the artists.

Events / Learning / News
SUPERLUX Workshop: ‘The Observational Camera’ with Margaret Salmon

Posted on April 13th, 2017 by LUX Scotland

Sunday 23 April 2017, 10.30am–4.30pm
Hospitalfield House, Arbroath
Free for SUPERLUX members, booking via Eventbrite
Organised in partnership with Hospitalfield as part of their CITIZEN Spring Season Open Weekend

This workshop will consider the differences between ‘observation’ and ‘documentation’ within filmmaking and artistic practices. Participants will be introduced to various historical and theoretical examples of both street photography and street filmmaking, including the presentation of Margaret Salmon’s own film Gibraltar (2013).

A practical introduction to two types of 16mm cameras that Salmon uses to make her own work, the Cannon Scoopic 16mm press camera and the Bolex will follow, before using these in a group filming exercise underpinned by the idea of engaging with a place in an ‘observational mode’. Following the workshop the resulting 16mm film stock will be developed and made available to participants online to view the results.

Workshop participants are welcome to stay overnight at Hospitalfield on Saturday 22 April, to take part in other events there during CITIZEN Spring Season Open Weekend. £5 accommodation can be booked here.

Artist Margaret Salmon will lead this workshop. Born in 1975 in Suffern, New York, Salmon lives and works in Glasgow. She creates filmic portraits that weave together poetry and ethnography. Focusing on individuals in their everyday activities, her films capture the minutiae of daily life and infuse them with gentle grandeur, touching upon universal human themes. Adapting techniques drawn from various cinematic movements, such as Cinema Vérité, the European Avant Garde and Italian Neo-Realism, Salmon’s orchestrations of sound and image introduce a formal abstraction into the tradition of realist film. Salmon won the first Max Mara Art Prize for Women in 2006. Her work was shown at the Venice Biennale in 2007 and the Berlin Biennale in 2010 and was featured in individual exhibitions at Witte de With in Rotterdam and Whitechapel Gallery in London among others.

Still: Margaret Salmon, Gibraltar, 2013. Courtesy of the artist and LUX.

Events / Learning / News
SUPERLUX Workshop: ANALOGY LOOM with Duncan Marquiss

Posted on April 11th, 2017 by LUX Scotland

Two-day workshop, led by artist Duncan Marquiss
Wednesday 3 May 2017, 10am–4pm and Thursday 4 May, 10am–4pm
Visual Research Centre, Dundee
Free for SUPERLUX members, booking via EventBrite 

‘Every concept we have is a tightly packaged bundle of analogies. All we do when we think is to leap from one analogy-bundle to another — and, such leaps are themselves made via analogical connection, to boot.’

– Douglas Hofstadter

In 1942 the neuroscientist Charles S. Sherrington famously compared the human mind to an “enchanted loom”. In her 1976 installation Text & Commentary the video artist Beryl Korot made an analogy between the threads on her weaving loom and the lines that make up a video image. Taking analogical thinking as its focus, this workshop will use video as a framework for examining the human tendency to draw comparisons and think in metaphors.

Can an analogy be the subject of a film? How might the form and structure of a film mimic its subject matter? Through discussions and practical exercises Analogy Loom will consider how artists and filmmakers use analogies to generate ideas and devise new formal approaches by combining disparate topics, materials and processes.

Participants are encouraged to bring a video-camera or smart-phone with them to use during some short filming-exercises during this workshop. Laptops are also welcome for a short editing session on the second day. While these are welcome, they are not a requirement to take part. If you don’t have access to either a camera or smart-phone then please book your workshop place and email and we can organise equipment for you.

The workshop will be led by artist Duncan Marquiss. Marquiss works with the moving image, drawing, writing and music. His practice is often driven by a search for patterns and connections between seemingly unrelated subject areas. He takes these analogies as starting points for process-led artworks that overlap disparate materials and cultural references. Marquiss has exhibited his films internationally, including presentations at the BFI London Film Festival; Glasgow International Festival of Visual Art; and Microscope Gallery, New York. He was the recipient of the Margaret Tait Award in 2015.

Analogy Loom was first held in March 2017 at the Kochi-Muziris Biennale, Kerala, India, hosted by LUX Scotland, British Council and Kochi Biennale Foundation.

With thanks to Duncan of Jordanstone College of Art and Design.

Still: Analogy Loom workshop at Kochi-Muziris Biennale, March 2017.

Events / News
Screening: LUX Scotland presents ‘Joan Mitchell: Portrait of an Abstract Painter’

Posted on February 10th, 2017 by LUX Scotland

Sunday 26 March, 7.45pm
GFT, Glasgow
Book Tickets, £9.50/ 7.50 concessions

LUX Scotland are pleased to present a screening of Marion Cajori’s intimate portrait of American abstract painter, Joan Mitchell (1925 – 1992).

The film will be accompanied by contributions from artists Max Brand and Joanne Robertson, and writer and curator, Paul Pieroni.

This screening is part of GFT’s Crossing the Line strand.

Image: Joan Mitchell, La Grande Vallée XVIII (Luc), 1983-1984.


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