Events / News / Screening
Screening: LUX Scotland presents ‘Every contact leaves a trace’

Posted on September 26th, 2017 by LUX Scotland

Sunday 1 October, 7.50pm
GFT, Glasgow
Book Tickets, £9.50/ 7.50 concessions

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.

Events / News / Screening
Screening: LUX Scotland and Document Film Festival present Andrea Luka Zimmerman, ‘Erase and Forget’

Posted on September 25th, 2017 by LUX Scotland

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.

Events / News / SUPERLUX
SUPERLUX Masterclass with Andrea Luka Zimmerman and Ameenah Ayub Allen: Making Artists’ Documentary

Posted on September 24th, 2017 by LUX Scotland

Sunday 22 October 2017, 12 noon–3pm
CCA Clubroom
Free for SUPERLUX members, book tickets

Join artist Andrea Luka Zimmerman and producer Ameenah Ayub Allen for a SUPERLUX Masterclass that surveys the process of making the film Erase and Forget.

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.

A screening of Erase and Forget (2017) Zimmerman’s feature-length documentary will be presented at 6pm, Saturday 21 October at CCA, Glasgow, as part of Document Film Festival.

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.

Exhibitions / News
New Limited Edition Print: Kate Davis, ‘Charity’ (2017)

Posted on September 20th, 2017 by LUX Scotland

LUX and LUX Scotland are pleased to launch a new limited edition print by Kate Davis, commissioned to accompany her current solo exhibition Charity at LUX in London, which continues until 28 October.

Print Digital pigment
Paper Hahnemühle Photo Rag Satin 310g
Edition 25 (plus 2 artist’s proofs), signed and numbered
Paper dimensions 29.7cm (w) x 42cm (h)
Image dimensions 29.7cm (w) x 42cm (h)
Price £120 (ex VAT,) unframed
P&P £10 (unframed, UK only; contact LUX for overseas quote)

For the duration of the exhibition, Charity is available to purchase at a special exhibition price of £100 (ex VAT, unframed).

For further information or to purchase an edition, click here or call LUX on 020 3141 2960.

Proceeds from the sale of this edition directly support LUX and LUX Scotland’s programme.

Kate Davis works across a range of media, including film/video, drawing, printmaking, installation and bookworks. Questioning how to bear witness to the complexities of the past, Davis’ artwork is an attempt to reconsider what certain histories could look, sound and feel like. This has often involved responding to the aesthetic and political ambiguities of historical art works and their reception.

Davis has presented solo exhibitions at The Drawing Room, London; Temporary Gallery, Cologne; GoMA, Glasgow; Museo de la Ciudad and La Galeria de Comercio, Mexico; CCA, Glasgow (with Faith Wilding); Tate Britain, London and Kunsthalle Basel amongst others. Her current exhibition at Stills in Edinburgh, Nudes Never Wear Glasses, continues until 8 October.

Davis was the 2016 recipient of the Margaret Tait award and in 2014 took part in LUX Scotland and BBC Scotland’s Artists and Archive residency and commission programme. Born in New Zealand, Davis lives and works in Glasgow.

Image: Kate Davis, ‘Charity’, 2017. Image courtesy of the artist and LUX.

Exhibitions / News
Exhibition: LUX and LUX Scotland present ‘Charity’ by Kate Davis

Posted on September 19th, 2017 by LUX Scotland

Opening Sunday 17 September, 2–5pm
Continues 20 September – 28 October
Exhibition hours: Wednesday – Saturday, 12–5pm
LUX, Waterlow Park Centre, London

LUX and LUX Scotland present a solo exhibition by Kate Davis, featuring her recent Margaret Tait Award film, Charity (2017), alongside related artworks and research materials.

Working across a range of media, including film and video, drawing, printmaking, installation and bookworks, Davis questions how historical narratives are produced and perpetuated. This has often involved probing the aesthetic and political ambiguities of particular artworks and specific historical moments from a contemporary feminist perspective.

Commissioned by LUX and Glasgow Film Festival in 2016, Charity was inspired by the ways in which the work of film-maker, poet and artist Margaret Tait invites us to contemplate fundamental emotions and everyday activities that are often overlooked. Taking artistic representations of breastfeeding as its focus, the film explores how the essential – but largely invisible and unpaid – processes we employ to care for others could be re-imagined.

Charity is shown alongside related artworks, bookworks, research materials and a selection of films and videos from the LUX and Cinenova collections. A newly commissioned text by art historian and writer Amy Tobin will be published on the occasion of the exhibition.

Kate Davis has also produced a new limited edition print to accompany the exhibition, available to purchase at a special exhibition price of £100 (ex VAT, unframed). For further information or to purchase an edition, visit LUX’s online shop here or call LUX on 020 3141 2960.

The exhibition is presented with LUX Scotland and curated by Nicole Yip, Director of LUX Scotland.

Kate Davis’ film, Charity, was commissioned as part of the 2016–17 Margaret Tait Award and received additional support from Outset Scotland.

Image: Sketch for Charity, Kate Davis, 2017. Courtesy of the artist and LUX.


Events / News / Screening
Artists’ Moving Image Festival 2017

Posted on August 24th, 2017 by LUX Scotland

11  – 12 November 2017
Tramway, Glasgow
Day pass £6/£5, Festival Pass £10/£8 (Transaction fee $3 online, £1.50 by phone)
Book online

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.

About AMIF
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.

Events / News / Screening
LUX Scotland presents: Luke Fowler, ‘Electro-Pythagorus (a portrait of Martin Bartlett)’

Posted on August 23rd, 2017 by 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

LUX Scotland is pleased to present four tour dates across Scotland to launch Luke Fowler’s new feature film Electro-Pythagorus (a portrait of Martin Bartlett) (2017).

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.

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.

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