Sarah Neely and Gerda Stevenson on Margaret Tait, chaired by Mitch Miller
Orcadian poet and filmmaker, Margaret Tait (1918–99) was one of Britain’s most unique and individual filmmakers and most under-appreciated poets. Her influences ranged from Federico García Lorca to Emily Dickinson, Morton Feldman and the films of the Italian Neo-Realists. In her new book, Sarah Neely (Senior Lecturer, University of Stirling) reappraises Tait’s poetry and portraits, her sounds and vital place in both Scottish letters and cinematic history.
To celebrate the launch of this publication, Neely will be in conversation with actor/writer/director Gerda Stevenson, who played the character Greta in Tait’s only feature film, Blue Black Permanent (1992). The event will be chaired by Mitch Miller, editor of The Drouth, who has also written on Tait’s films and poetry.
Presented in partnership Glasgow Film Festival.
Image: Margaret Tait on set of Blue Black Permanent, courtesy of Orkney Library and Archive.
LUX Scotland celebrates the launch of the LUX publication Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative 1966-76 with an illustrated talk by Mark Webber.
Published to coincide with the 50th anniversary of the London Film-Makers’ Co-operative – LUX’s historical predecessor – this new book explores the formative years of the organisation by bringing together texts, interviews, images and a large number of archival documents
Initially founded in October 1966 as a non-commercial distributor of experimental films, the London Film-Makers’ Co-operative was soon reconfigured into a unique organisation that provided access to production facilities and developed a context for radical investigations of film as material. Its film workshop enabled artists to control every stage of the filmmaking process; a creative freedom that was often extended, through the creation of expanded cinema works, to the moment of projection.
Collectively run on a largely voluntary basis, the LFMC operated without funding throughout its early years. Nonetheless, it maintained a distribution office, cinema space and film workshop in each of the run-down, former industrial buildings in which it was based. This precarious but supportive environment stimulated a remarkable body of films and theoretical work that anticipated today’s diverse culture of artists’ moving image.
Mark Webber, editor of Shoot Shoot Shoot, will present an illustrated talk that includes rarely seen documentary footage, archival materials and screenings of key films from the period. Copies of the book will be available for purchase at a discounted price.
This event has been rescheduled, after a cancellation in December. Initially programmed as part of a wider programme by LUX and LUX Scotland celebrating the London Film-Makers’ Co-operative’s 50th anniversary #LFMC50.
This event is free to attend.
Booking required due to limited capacity; please reserve your place via Eventbrite.
The Margaret Tait Award is a Glasgow Film Festival commission supported by Creative Scotland and LUX, inspired by the celebrated Orcadian filmmaker Margaret Tait (1918 – 1999), a filmmaker and writer whose film poems, hand-painted animations and documentaries were pioneering in the field of experimental filmmaking.
Inspired by the wealth of talent emerging from Scotland, the Margaret Tait Award was founded in 2010 to support experimental and innovative artists working within the field of experimental filmmaking. The award aims to provide a high-profile platform for the winning artist to exhibit their work and engage with a wider audience: the winner will have the opportunity to showcase their work at Glasgow Film Festival 2018.
In May 2016 Glasgow-based artist Kate Davis was awarded the commission. Her new film will premiere on Monday 20 February at Glasgow Film Festival 2017. The recipient of the 2017/2018 award will also be announced at this screening.
The panel for this selection consisted of the following members: Mark Thomas (Creative Scotland), Nicole Yip (LUX Scotland), Sean Greenhorn (Glasgow Film Festival), Kirsten Lloyd (University of Edinburgh), Graham Domke (freelance curator/writer), Katrina Brown (The Common Guild), Gayle Meikle (artist/curator), Emma Nicholson (Atlas Arts), Alexia Holt (Cove Park) and Charlotte Prodger (former winner).
Still: Margaret Tait, Where I am is Here, 1964
Programmed to coincide with Tramway’s THE BIG PICTURE SHOW, a month-long season of artists’ moving image for children, this special evening event for parents and childcare givers presents two short works from artists Margaret Salmon and Helen Benigson, a performance by artist, Corin Sworn, followed by Claire Hooper’s arresting 2012 work, Eris.
Tracing the experiences of Danielle Marie Shillingford, a woman who has lost custody of her children, Eris blurs the boundaries between the fantastical, the superhuman and the absolutely mundane, as we see slippages between Danielle and her god-like alterego Eris, the goddess of strife and discord.
Published in 2001 ‘MOTHER READER: Essential Writings on Motherhood’ brings together a collection of texts chosen by the artist Moyra Davey which reflect upon pursuing a career as an artist, while being a mother. Sworn will perform a response to the book and present research material from a work in progress examining aspects of reproductive labor.
Image: Claire Hooper, Eris, 2012, courtesy of the artist and LUX.
LUX Scotland are looking for a Programme Manager, Artistic Programmes (Maternity Cover) to join the team.
The Programme Manager, Artistic Programmes (Maternity Cover) will work closely with the LUX Scotland Director and Programme Manager (Learning and Professional Development) to support the consolidation and development of the LUX Scotland project.
Focusing on programme management and collection development, the post-holder will play a key role in ensuring that LUX Scotland remains artistically ambitious and effectively supports and promotes artists working with the moving image in Scotland. This work places the needs of the artists’ moving image community at the heart of the programme and ensures that LUX Scotland remains central to discourses around artists’ moving image practice in Scotland.
The Programme Manager (Artistic Programmes) will support the Director in the organisation and delivery of the artistic programme; contribute to the research and development of future programmes; develop and expand audiences; support the establishment of the new LUX Scotland distribution collection; and provide administrative support to the Director.
Image: George Kuchar from Reflections From a Cinematic Cesspool, 1997, screened as part of AMIF 2016.
photo credit: Matthew Arthur Williams
Please join us for the second SUPERLUX Social, our new series of regular membership meet-ups, at the Edinburgh Artists’ Moving Image Festival 2016 (EAMIF). If you are not currently a member of SUPERLUX, join today to book your place. It is free and easy – simply follow this link.
Our SUPERLUX social at EAMIF will be an opportunity for members to meet one another, as well as Benjamin Cook (Founder and Director of LUX) and Nicole Yip (Director of LUX Scotland) in the middle of the exciting festival programme. We will introduce new and existing members to SUPERLUX, and provide an opportunity to share, listen and discuss experiences and ideas for future SUPERLUX programming and opportunities. Please join us from 2.30pm in the Wee Red Bar at Edinburgh College of Art.
SUPERLUX Socials aim to provide a space for members to come together in informal settings to share their experiences, discuss issues around practice and shape future programming. Over the coming year, SUPERLUX Socials will take place at various locations throughout Scotland to meet directly with our members. SUPERLUX Socials are free to attend for SUPERLUX members.
Still: ‘Rameau’s Nephew by Diderot (thanx to Dennis Young)’, Wilma Schoen (1974)
Presented in Tramway’s main exhibition space, The Big Picture Show is a month-long season of artists’ moving image programmed especially for tots, teens and parents.
Developed in collaboration with artists and their children, this diverse programme of experimental, narrative and performance-based works from the 1930s to the present day will travel a magical and mysterious path through the world of moving image.
The season includes works by pioneers of experimental animation, Len Lye and Norman McLaren, seminal works by artist duo Fischli/Weiss and John Smith, alongside work by contemporary artists, including Margaret Salmon, Beatrice Gibson and Katy Dove.
Over the course of the month-long exhibition, The Big Picture Show will comprise of three programmes of artists’ moving image, including Psy-kid-elia, (Psychedelia for children, aged 0 – 8 years), Once Upon a Time, (Narrative for children, aged 4 – 12 years) and Performing for the camera, (Performance for children, aged 8 – 15 years).
Accompanying the main exhibition will be a special Parents Screening featuring a performance by Glasgow-based artist and mother, Corin Sworn, followed by a screening of Claire Hooper‘s arresting work, Eris (2012).
Wednesday 23 November, 12 – 4pm
Free (Ticketed via Eventbrite)
‘Defaced, hidden, stolen crushed, chopped, pierced’ is a SUPERLUX Reading Group programmed by artist Jamie Crewe for Edinburgh Artists’ Moving Image Festival. Across the afternoon Jamie will lead collective readings of texts from the blog ‘We Want Truth Goldsmiths’, feminist scholar Sara Ahmed, poet and scholar Anne Carson, and historian James Fredal. Topics will range from responses to institutional sexual harassment made this year, to non-verbal rhetoric in ancient Greece, to the gendering of sound and voice. These readings will be augmented by a screening of Billie Whitelaw performing Samuel Beckett’s Not I and materials for crafting curse tablets. Jamie hopes this will lead the group to a varied contemplation of the ways protest and expression might be made by disempowered people using tools that are defaced, stolen, hidden, crushed, chopped or pierced.
The group will read the texts together out loud, so no reading prior to the day is necessary, though the texts are available if you would feel more comfortable reading through before hand. It will accommodate a small, intimate and contributory group of 12-15 participants, so please only reserve a ticket if you are able to commit to the whole afternoon.
Some of the texts used in this reading group discuss sexual harassment, with no descriptions of specific experiences. For more information please contact LUX Scotland email@example.com
This event is presented as part of Edinburgh Artists’ Moving Image Festival by SUPERLUX.
As part of the 50th anniversary celebrations of LUX’s historical predecessor – the London Film-Makers’ Co-op – LUX Scotland presents a programme of films dedicated to the women filmmakers of this artist-led, cooperative organisation. Produced against a backdrop of growing feminist consciousness, these films built on the methods, processes and ethos associated with the Co-op to address the world outside of the projection room.
Featuring works by Vanda Carter, Tina Keane, Sandra Lahire, Annabel Nicolson, Ruth Novaczek, Joanna Davis and Lis Rhodes, this programme looks at the political and activist potential of women’s experimental film. The title of this programme is borrowed from one of the songs sung at the Greenham Common Women’s Peace Camp, which was established in Berkshire in 1981 and became the site of major anti-nuclear mobilisations. Like the films presented here, it reflects women’s anger and revolt against the oppressive social and political conditions in Britain in the 1980s as well as their activist engagement for peace and justice. Beyond this particular context, the programme also explores the ways in which the languages of experimental film have been harnessed for explicit political purposes.
This programme is curated by Maud Jacquin and will be introduced by writer, artist and curator, Lucy Reynolds. Originally presented as part of ‘From Reel to Real: Women, Feminism and the London Film-makers’ Co-op’ at Tate Modern (September 2016) in partnership with LUX and Tate Film with the support of LUMA Foundation and FLUXUS.
This event is part of a wider programme of events by LUX and LUX Scotland celebrating the London Film-Makers’ Co-operative’s 50th anniversary #LFMC50. As part of the LFMC50 series, LUX Scotland will also present the Glasgow launch of Shoot Shoot Shoot: The First Decade of the London Filmmakers’ Co-operative 1966-1976, at the Centre for Contemporary Arts on Tuesday 6 December, 2016.
Still: ‘Goose and Common’, Joanna Davis and Lis Rhodes, 1983
Nomination Deadline: Monday 5 December 2016
We’re excited to announce that nominations are now open for the eighth year of the Margaret Tait Award, supported by Creative Scotland and LUX. Anyone can nominate, but artists cannot nominate themselves.
The aim of the Margaret Tait Award is to support experimental and innovative artists working within film and moving image, providing a high profile platform for them to exhibit their work and engage with a wider audience. The award will be given to a Scottish or Scotland-based artist who has developed a significant body of work within film and moving image over the past 3–10 years and is at the cusp of a major impact on the sector.
The recipient of the award will receive a £10,000 prize to create new work and the opportunity to present it at the Glasgow Film Festival in 2018. Previous winners include Kate Davis, Duncan Marquiss, Charlotte Prodger, Anne-Marie Copestake, Torsten Lauschmann and Sarah Forrest.
Who can be nominated?
Artists who are Scottish and/or based in Scotland.
Artists who have developed a significant body of work over the past 3–10 years and are at the cusp of a major impact on the moving image sector.
There is no age restriction.
We regret that we cannot accept nominations of artists who are students.
How to Nominate:
Please send 200 words on the artist’s career to date, their impact on the sector and your reasons for nominating. Be sure to include a link to the artist’s website or an online example of their work as well as the artist’s email address and phone number.
Applications should be sent by email only to firstname.lastname@example.org
Deadline for nominations is 9am on Monday 5 December 2016
Still: Margaret Tait
The fifth edition of Tramway’s Artists’ Moving Image Festival will take place on 5 and 6 November 2016 at Tramway, Glasgow.
Programmed by Sarah Tripp and Ed Webb-Ingall, #AMIF2016 will host a series of screenings, new works, readings, performances and discussions, bringing together local and international artists, writers and programmers. #AMIF2016 will seek to challenge the conventions of the cinema space, activating festival participants through strategies of disruption, subversion and intervention.
The programme will include contributions from artists including; Kate Briggs, Siân Robinson Davies, Alice Brooke and Beatrice Loft Schulz, Sarah Forrest, Aniara Omann, Katrina Palmer and Jamie Crewe, plus many more participants. Please see the #AMIF2016 blog for further programme info.
#AMIF2016 is programmed by Sarah Tripp and Ed Webb-Ingall and co-organised by Tramway and LUX Scotland, with support from LUX.
Image: #AMIF2016, Alexander Storey Gordon.
Friday 28 October, 7pm
Free, not ticketed
Her videos are disjunctive, diaristic and often feature people who become the unassuming subjects of her work. Describing her working process, Leventhal says, ” I start with a subject that I care deeply about / I concentrate on fear, desire, anger, confusion, and love. / I concentrate on the emotional relationships between humans, humans and animals, and humans and their environments. / I am particularly interested in the way we develop based on our experiences in childhood, and then the process of undoing it.” Presenting her shorts alongside her recent collaboration ‘Hard As Opal’ with Jared Buckhiester, Leventhal will also present a preview of her in-progress work, ‘Strangely Ordinary This Devotion’, a collaboration with Sheilah Wilson.
Image: Dani Leventhal and Jared Buckhiester
LUX Scotland are looking for a Programme Manager in Learning & Professional Development to join the team.
The Programme Manager (Learning & Professional Development) will work closely with the LUX Scotland Director and Programme Manager (Artistic Programmes) to support the consolidation and development of the LUX Scotland project.
The Programme Manager (Learning & Professional Development) will play a key role in ensuring that LUX Scotland effectively supports and promotes artists working with the moving image in Scotland by providing: public access to LUX Scotland’s work; production support and professional development opportunities for artists; access to the LUX collection and research resources; and educational activities. This work places the needs of the artists’ moving image community at the heart of the programme and ensures that LUX Scotland remains central to discourses around artists’ moving image practice in Scotland.
The Programme Manager (Learning & Professional Development) will manage the delivery of the professional development programme; take day-to-day responsibility for the ongoing development of SUPERLUX, LUX Scotland’s membership scheme; work closely with the Programme Manager (Artistic Programmes) to support the delivery of the overall public programme; and provide administrative support for the Director.
Berwick Film and Media Arts Festival are back! The 12th edition of BFMAF takes place from Wednesday 21- Sunday 25 September 2016. We have two bursary places available to send SUPERLUX members along to attend the festival.
The bursary includes a free festival pass, with full access to a three-day seminar, accommodation in Berwick and travel costs. Bursary recipients will be expected to attend all three sessions of the seminar and write a short response on their experience of BFMAF, which will be published on the SUPERLUX website.
It’s really easy to apply (and easy to join SUPERLUX too—it’s free!). Simply fill out the form on our SUPERLUX site, explaining why you are interested in attending BFMAF and how this will benefit your current research and practice in 150 words or less. Deadline for applications will be 10am Tuesday 13 September. We’ll let the the successful bursary holder know by 5pm Wednesday 14 September.
If you are not awarded the SUPERLUX bursary, there are festival passes available to purchase, and we hope you can still make it to BFMAF 2016.
Image: ‘Fucking Finland’ series, Seamus Harahan, BFMAF 2015
Friday 2 September, 5-8pm
Monday 26 September, 5-8pm
Tuesday 18 October, 5-8pm
As part of the Artists Moving Image Festival (AMIF), filmmaker and writer Ed Webb-Ingall will be running three workshops that explore ideas of intervention, disruption and interruption in the context of the cinema. The results of these workshops will be presented at Tramway on November 6th as part of #AMIF2016.
The workshops will invite artists and filmmakers to think about what it means to intervene into the cinema auditorium in order to disrupt, expand or push at the edges of what might be expected in that space. We will ask questions such as:
What is or isn’t allowed here? Who is in charge? What is possible in this space? What are the limits of this space? Who decides on them? What does it mean if someone has paid for something? Where does the responsibility for care lay?
The workshops are available to SUPERLUX members free of charge and will take place at Tramway, Glasgow on Friday 2nd September, Monday 26th September and Tuesday 18th October, developing towards a public presentation at #AMIF16 on Sunday 6th November. No filmmaking experience is necessary, but it is important that you can attend all three of the workshops. Tickets available until 5pm Thursday 1 September.
Part of Tramway‘s annual Artist Moving Image Festival.
As part of September’s Crossing The Line at GFT, Phoebe Amis has curated a film programme celebrating subversive uses of anger, risk, precarity and opacity by German filmmakers Helke Sander, Pauline Boudry/Renate Lorenz, and Dagmar Schultz.
Schulz’s feature-length portrait of Audre Lorde shows the eponymous African-American poet galvanising the Afro-German movement and anti-racist feminism. The documentary demonstrates another history of 1980s West German and North Atlantic social movements, rearranging the legacy of feminist filmmaker Sander. Sander’s short film about destitution and direct action unpicks narratives of social change and debates about what a feminist looks like, while Boudry/Lorenz examine the capacity for resistance in the presence of a ‘visible’ enemy.
This screening is part of GFT’s Crossing the Line strand, kindly supported by Goethe Institut.
Image: Audre Lorde, 1984
Hospitalfield Arts are hosting a three-day 16mm workshop between 16 and 18 August 2016.
We have one bursary place available for a SUPERLUX member to attend the workshop. This bursary includes a free place on the workshop, bed and board at Hospitalfield estate, and up to £60 of your travel costs to Hospitalfield.
It’s really easy to apply (and easy to join SUPERLUX too—it’s free!). Simply fill out the form on our SUPERLUX site, telling us in no more than 150 words why you would be interested in attending the workshop and how the course will benefit your practice. Deadline for applications will be 10am Thursday 21 July. We will select the applicant whose practice is set to benefit the most from attending the workshop, and let them know within 24 hours of the deadline.
If you are not awarded the SUPERLUX bursary, there are paid places available on the workshop which you can book before 26 July.
Photograph by Pavel D.
Friday 8 July, 7-9pm
Tickets available on the door
Anne-Marie Copestake screening, discussion and selections from the LUX collection. Part of MIMC’s ‘Out Of The Box’ programme.
For this special screening, the Moving Image Makers Collective and LUX Scotland have invited Anne-Marie Copestake to present the first part of her new film about Margaret Benyon, a pioneer of holography as an artistic practice. She has also selected a number of works from the LUX collection which will frame an open conversation after the screenings with Luke Collins (Deputy Director, LUX Scotland).
‘Back As Front, Inside As Out’ (2015) considers the early period as holography developed focusing on Benyon’s explorations into esoteric subject matter in unfamiliar media, foregrounding artistic pursuit through rigorous action, optimism and discovery. Other works in this screening include Cathy Sisler Aberrant Motion 1 (1993) and Steve Sutcliffe‘s Plum (2012).
Anne-Marie Copestake is a prolific and subtle artist who has lived and worked in Glasgow since the 90s when she initiated Trigger Tonic, in which she paired local with visiting artists for intense, revealing conversations. In 2011 Copestake was an early recipient of the Margaret Tait award, producing ‘And Under That‘ (2012) which developed visual associations and a scenario wherein a questioning of histories and potential comes from two older women, who are not presented as fixed or finished but with possibilities and ideas surrounding them. Copestake works across many forms (moving image, drawing, sculpture, music) and often in collaboration (with Fred Pederson, as part of Poster Club and as part of the band Muscles of Joy) bringing a delicate but rigorous touch to all her work.
LUX Scotland is a dedicated support and promotion agency for artists working with moving image in Scotland. Founded in 2014 with a new office at the CCA in Glasgow, LUX Scotland seeks to support artists working with moving image in Scotland through a range of activities including programming, professional development through our SUPERLUX programme and research through access to the collection. Please visit our website for full details (www.luxscotland.org.uk) or get in touch with us through email or on social media.
The ‘Out Of The Box’ programme is supported by Film Hub Scotland.
Still: ‘Back As Front, Inside As Out’, Anne-Marie Copestake (2015)
The winner of the 2016 Margaret Tait Award is Glasgow-based artist Kate Davis. Shortlisted along with artists Aideen Doran, Hardeep Pandhal, Catherine Street and Stina Wirfelt, Davis will receive a £10,000 commission to create a new piece of work, and the opportunity to present this work at Glasgow Film Festival in 2017.
Davis’ 2014 work ‘Weight‘ was produced as part of the Artists and Archives: Artists’ Moving Image at the BBC residency programme, supported by BBC Scotland, LUX and Creative Scotland. Taking a 1961 BBC documentary about Barbara Hepworth as its starting point, ‘Weight’ explores how televised depictions of creativity constructed our understanding of artistic production and other forms of labour.
On winning the 2016 Margaret Tait Award, Davis said, “’Working with the moving image has become an increasingly important part of my practice in recent years and the Margaret Tait Award will be invaluable in enabling me to realise my most ambitious and experimental moving image work to date. Inspired by the ways in which Margaret Tait’s films invite us to contemplate fundamental emotions and everyday activities that are often overlooked, I propose to investigate how the essential, but largely invisible and unpaid, processes we employ to care for others and ourselves can inform both the subject of my film and the way it is made.”
Born in New Zealand, Kate Davis lives and works in Glasgow. Previous projects include Cinenova Presents Now Showing, LUX Cornwall, St Ives; LUX/ BBC Artists and Archive commission; GENERATION exhibition, Scottish National Gallery of Modern Art; HOUSE WORK CASTLE MILK WOMAN HOUSE, Glasgow Women’s Library; Art Under Attack, Tate Britain. Forthcoming projects include a solo exhibition at Stills, Edinburgh.
The 2016 panel consisted of a diverse range of experts and curators in the field of visual arts and cinema, including Kirsten Body (Inverness Museum and Art Gallery), Sophia Hao (Cooper Gallery, Dundee), Paul Pieroni (GoMA, Glasgow), Gayle Meikle (artist/curator), Emma Nicolson (ATLAS Arts, Skye), Laura Simpson (Hospitalfield Arbroath), Stephen Sutcliffe (artist and previous Margaret Tait Award winner), Mark Thomas (Creative Scotland), Luke Collins (LUX Scotland) and Jane Hartshorn (Glasgow Film). 21 prominent Scottish artists were nominated for the award, and five were then shortlisted and asked to submit proposals, from which Davis was selected.
Still: ‘Weight’, Kate Davis, 2014
Revisiting the heyday of avant-garde filmmaking through a selection of canonical classics and rarely screened gems, this retrospective screening presents works by filmmakers involved in EIFF during the 1960s and ’70s. This programme of shorts comprises artists who either participated directly in the ‘International Forum on Avant-Garde Film’, or whose work was screened between 1976 and 1978 – the crucial years in EIFF’s engagement with avant-garde filmmaking.
The Thursday screening will be introduced by EIFF Black Box Curator Kim Knowles, and LUX Scotland Director Isla Leaver-Yap
‘Between the Frames’ (1976) by Sarah Child
‘Breakfast’ (1976) by Michael Snow
‘Chinese Chequers’ (1964) by Stephen Dwoskin
‘Inferential Current’ (1971) by Paul Sharits
‘Key’ (1968) by Peter Gidal
‘New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops’ (1976) by Owen Land
‘Rohfilm’ (1968) by Wilhelm & Birgit Hein
Image: ‘Chinese Chequers’, Stephen Dwoskin, 1964
This EIFF screening is organised in association with LUX.