This programme of artist moving image considers the forensic science maxim ‘every contact leaves a trace’. Abstracted narratives which engage structurally with techniques of dissection and reconstruction are included alongside film portraits exploring the female amateur detective and essayistic enquiries which interrogate the residue of past events. Selected works use the mystery genre as both a methodology and context, examining buildings as bodies and the city as a crime scene.
Naeem Mohaiemen, Rankin Street, 1953, 2013, video, 7 min 40 sec
A forgotten box of old photos, the lost memories from the past, and Naeem’s search to know the untold stories by his father evoked the idea of Rankin Street, 1953.
– Samdani Art Foundation website
Leah Gilliam, Sapphire and the Slave Girl, 1995, video, 18 min 20 sec
Loosely based on the 1950s British detective film Sapphire, in which two Scotland Yard detectives investigate the murder of a young woman who is passing for white, Sapphire and the Slave Girl examines the determinants of Sapphire’s murder investigation through its cinematic representation. Referencing detectives from Marlowe to Shaft, Sapphire and the Slave Girl enacts its analysis in the persona of the hard-boiled detective in order to highlight transgressions of identity and location. Featuring a multifarious cast of identity-shifting Sapphires, this fast-paced genre bash visualizes and problematizes the way that identity is negotiated and performed within urban spaces.
– Video Data Bank website
Susu Laroche, Body of Work, 2017, 16mm transferred to video, 2 min 15 sec
Following a series of freak accidents, a tattoo artist reclaims his body of work. Drawings by Caleb Kilby. Original sound by Astrid Gnosis.
– Artist’s website
John Smith, Blight, 1994-96, 16mm transferred to SD video, 14 min
Blight was made in collaboration with the composer Jocelyn Pook. It revolves around the building of the M11 Link Road in East London, using images and sounds of demolition and road building in conjunction with the spoken words of local residents. Although the film is constructed from images and sounds of real events, Blight exploits the ambiguities of its material to produce new meanings and metaphors, fictionalising reality through framing and editing strategies.
– LUX website
Mark Barker, Stuart Certain, 2014, HD video, 15 min 57 sec
Set in a rented domestic space that has been re-functioned as a make-shift laboratory, Stuart Certain focuses on a group of occupants who come together to play out a series of experiments.
– LGLondon website
Ming Yuen S. Ma, Sniff, 1997, Betacam SP video, 5 min
In a stark white room, on an unmade bed, a naked man is crawling in circles. He is trying to remember the men he had sex with on the bed by searching for traces of their scent left there. Sniff is an experimental videotape that uses structural repetition and video degeneration to create a sense of memory and loss. It is a meditation on the relationship between promiscuity, technology, memory, fear of death and AIDS.
– Artist’s website
Lucy McKenzie & Richard Kern, The Girl who Followed Marple, 2014, video, 10 min
Director: Richard Kern
Writer: Lucy McKenzie
Music: Martial Canterel
Part showcase for the fashion label Atelier E. B., part infomercial for a particular brand of menstrual cup, The Girl who follows Marple envelopes it’s commercial underpinnings in the familiarity of a made-for-TV thriller and the complicit voyeurism that a collaboration with Kern entails.
– Vimeo page
This screening is part of GFT’s Crossing the Line strand and is curated by Naomi Pearce.
Naomi Pearce is a writer and producer living in Glasgow. Recent projects include 56 Artillery Lane at Raven Row, London (co-curated with Amy Budd). She is co-editor of A-OR-IST journal and a current AHRC funded PhD candidate in Art at the University of Edinburgh (supervised by Maria Fusco and Dr Elizabeth Reeder).
Image: illustrator unknown, 1867. From Leonard De Vries (ed.), ‘Exciting Scene at a Fire: Narrow Escape of Six Persons’, ‘Orrible Murder – an Anthology of Victorian Crime and Passion Compiled from the Illustrated Police News, Book Club Associates, 1974.
Saturday 21 October, 6pm
CCA Theatre, Glasgow
Free for SUPERLUX members, book tickets
Presented with Document Film Festival
‘Bo’ Gritz is one of America’s highest decorated Vietnam veterans and the alleged real-life inspiration behind Rambo. A contentious public figure, he also killed 400 people, turned against Washington and moved to the Nevada desert where he now sleeps with many weapons. Filmed over ten years using impressive visual material, Andrea Luka Zimmerman’s portrait of Bo is an inquiry into the nature of human conscience and the limits of deniability, and embodies contemporary American society in all its dizzying complexity and contradictions.
Zimmerman’s portrait is an artist’s perspective of an individual and a country in crisis. She explores the implications on a personal and collective level of identities founded on a profound, even endemic violence. She examines the propagation of that violence through Hollywood and the mass media, the arms trade and ongoing governmental policy.
Artist Andrea Luka Zimmerman will be in conversation with Nicole Yip (Director, LUX Scotland) following this screening.
Sunday 22 October 2017, 12 noon–3pm
Free for SUPERLUX members, book tickets
Filmed over ten years using impressive visual material, Zimmerman’s portrait of ‘Bo’ Gritz (one of America’s highest decorated Vietnam veterans and the alleged real-life inspiration behind Rambo, a contentious public figure who killed 400 people, turned against Washington and moved to the Nevada desert where he now sleeps with many weapons) is an inquiry into the nature of human conscience and the limits of deniability, and embodies contemporary American society in all its dizzying complexity and contradictions.
As American reality fragments even further, as the alt. right of the social media generation meet and merge with older expressions of right wing extremism, in ever growing conflict and complexity, Erase and Forget explores the relationship of these movements within the state and military apparatus over the last 50 years.
This SUPERLUX Masterclass will focus on questions around the circulation of engaged artists’ documentary, the complexity of working with fair use material within film culture and the possibilities and difficulties that arise when choosing to work outside of mainstream funding structures.
Andrea Luka Zimmerman’s work explores the impact of globalisation, power structures, militarism and denied histories, with works such as Estate, a Reverie (2015), tracking the passing of the Haggerston Estate in East London and the utopian promise of social housing it once offered; and Taskafa, Stories of the Street (2013) on resistance and co-existence told through the lives of the street dogs of Istanbul and voiced by John Berger. Erase and Forget (2017) premiered at the 2017 Berlin Film Festival, where it was nominated for the Glashutte most original documentary award. Zimmerman is co-founder of the artists’ collective Fugitive Images, and a founding member of Vision Machine. She co- curated Real Estates at PEER, London (2015) with David Roberts (in association with LUX) as a social, discursive and imaginative space around issues of housing and social injustice; her first UK solo exhibition Common Ground was at Spike Island, Bristol (2017).
Ameenah Ayub Allen is a British producer developing several features including the contemporary drama Cycle for Artangel (supported by the BFI). She was short-listed for an Academy Award®, nominated for a British Independent Film Award and has won a National Film Award for her short fiction films and has produced/executive produced documentaries and art installation films. She was heavily involved in realizing Clio Barnard’s The Selfish Giant (Film4/BFI – BAFTA nominated Outstanding British Film, winner Label Europa – Cannes) and Sarah Gavron’s award-winning Brick Lane based on the best selling novel by Monica Ali (Film4/Sony Pictures Classics). Associate producer/production manager credits include: Electricity starring Agyness Deyn (BFI/Wellcome Trust/Soda Pictures); Clio Barnard’s critically acclaimed debut The Arbor (Artangel/More4/UKFC) and Turner Prize winner Gillian Wearing’s Self Made.
LUX Scotland’s annual Artists’ Moving Image Festival (AMIF), presented in partnership with Tramway, returns for its sixth addition in November. Drawing on the diversity of film, video and performance practices from Scotland and beyond, the two-day festival will include experimental and thematically bold programmes which explore expanded notions of moving image practice, reconsidering the conventions and experience of the cinema space. This edition of AMIF will be programmed by writer and lecturer Laura Guy and artist Cara Tolmie, who will explore shared interests in their academic and creative practices.
#AMIF2017 is co-organised by Tramway and LUX Scotland, with support from LUX.
LUX Scotland and Tramway’s annual Artists’ Moving Image Festival (AMIF) was established in 2012 to provide a platform for the discussion and presentation of artists’ moving image, showcasing forms of production and research alongside screenings and discursive events. Hosted by Tramway, AMIF receives ongoing support from LUX and LUX Scotland.
Sunday 10 September 2017, Glasgow Film Theatre (Scottish premiere), book tickets
Monday 11 September 2017, Eden Court, Inverness, book tickets
Tuesday 14 November 2017, Filmhouse Edinburgh, book tickets
Wednesday 15 November 2017, Dundee Contemporary Arts
Electro-Pythagorus is an intimate and subjective portrait of Martin Bartlett (1939-93), a Canadian experimental electronic musician who pioneered the use of the ‘microcomputer’ during the 1970s and 80s. His contribution as an interdisciplinary composer, educator, and founding member of the artist-run centre Western Front is undoubtedly extensive, but his legacy risks fading from cultural memory since his death from AIDS in 1993.
Created largely from archival material as well as new 16mm film footage shot in and around Vancouver and Amsterdam, the film navigates an array of Bartlett’s archival materials including letters, correspondences, notebooks, personal photos, and a huge body of unreleased music and field recordings held at the archives of Simon Fraser University. Softly guided by Fowler’s insightful camera and montage, Electro-Pythagorus is a journey through the evolution of Bartlett’s musical time and space, creating an experimental portrait that defies one-dimensionality.
Electro-Pythagorus will be presented on 35mm film at each venue. Screenings at Glasgow Film Theatre, Filmhouse Edinburgh and Dundee Contemporary Arts will be followed by a Q&A with the artist.
Electro-Pythagorus was co-commissioned by Sonic Acts/Stedelijk Museum (Amsterdam) and Western Front (Vancouver), and is supported by the Harvard Film Study Centre, Radcliffe Institute for Advanced Study (Cambridge, MA) and Creative Scotland.
Image: Luke Fowler, Electro-Pythagorus: A Portrait of Martin Bartlett, 2017. Courtesy of the artist, LUX and The Modern Institute/Toby Webster Ltd, Glasgow.
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.
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.
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 email@example.com 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.
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.
Wednesday 5 July, 7pm
£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.
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.
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.
‘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.
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.
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.
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.
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, no.w.here 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 no.w.here, Bethnal Green, London.
Image: Evan Ifekoya, She Was A Full Body Speaker, 2016. Image courtesy of the artist.
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:
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.
By Sam Hoolihan
6 min | 2015 | Silent | Colour | 16 mm | USA
A silent meditation on light, time, and landscape.
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.
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.
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.
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 Miller, Kimberley O’Neill, Jacolby Satterwhite, Danielle 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.
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.
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.