LUX Scotland Collection Project

LUX Scotland is currently undertaking a series of public events over the coming years with the intention of establishing a new distribution collection of artists’ moving image based in Scotland. The intention for the LUX Scotland Collection project is not only to promote and make this work publicly accessible on both a national and international level, but also to explore how such a collection might function as a way of consolidating a history or tradition of moving image culture in Scotland.

LUX Scotland’s collection building process is conceived as an open research project, working in consultation with the arts community across Scotland over the next few years. Through these public events and discussions, we hope to open out some of the questions around what it means to establish such a collection and what should be included, as well as acknowledge some of the precedents for collection building that already exist within Scotland.

These recordings are also available in written format for those who may require it. If you would like to receive a copy, please email us at scotland [at]

Towards a Collection of Artists’ Moving Image in Scotland, National Galleries of Scotland, Edinburgh
Presentations and Panel Discussion
Tuesday 25 July 2017

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

This event analysed 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 addressed 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?

Presentations: listen via Soundcloud

Each of the four presentations provided an in-depth focus on one aspect of the collection process – from funding and strategy, to acquisition, preservation and exhibition. Speakers included Robert Dingle (Contemporary Projects Manager, Art Fund), Will Cooper (Curator of Contemporary Art, Gallery of Modern Art, Glasgow), Julie-Ann Delaney (Curator, Scottish National Gallery of Modern Art), and Brian Castriota (Time-Based Media Conservator and Doctoral Candidate, University of Glasgow).

Panel Discussion: listen via Soundcloud

The panel was chaired by Kirstie Skinner (Director, Outset Scotland and editor and lead researcher, Collecting Contemporary: Curating Art Collections in Scotland), and included artist Rachel Maclean, and speakers Robert Dingle, Will Cooper, Julie-Ann Delaney, and Brian Castriota.

Towards a Collection of Artists’ Moving Image in Scotland, DCA, Dundee
Screening Programme and Roundtable Discussion
Wednesday 3 May 2017

Following the launch of the LUX Scotland Collection project in Glasgow in January 2017, this event began with the continuation of ‘Five Propositions’, a screening programme for which five individuals working in different capacities across the art sector in Scotland presented and introduced a personal proposition for the collection. 

The propositions raised various questions, such as how the selection process for the collection could function; where does the border between documentary and artist moving image lie; and how a collection of artist moving image might be utilised.

The event concluded with a roundtable discussion 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 also discussed the implications that digitisation has had (and continues to have) on questions around archiving, distribution and accessibility.

Five Propositions: listen via Soundcloud

‘Five Propositions’ included:

Jacqueline Donachie (artist): Roderick Buchanans, Keep Her Lit, 2012, which can be viewed in full here.
Pernille Spence (artist and lecturer & researcher in Time Based Art & Digital Film, DJCAD): Kyra Clegg and Su Grierson, Forest is …, 2015
Hari MacMillan (artist and committee member, GENERATOR Projects): Sam Gonçalves and Anna Olafsson, The Lifespan of Utopias with Live Score, 2016. A staging of the piece can be viewed here.
Laura Simpson (Programme Manager, Hospitalfield): Winnie Herbstein, Circling Roads, 2016
Stephen Partridge (artist and Associate Dean of Research, DJCAD): Doug Aubrey and Allan Robertson as Pictorial Heros, Sniper, 1987/88. Sniper can be viewer here.

Roundtable Discussion: listen via Soundcloud

Panellists included: 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) and Gayle Meikle (artist and curator). The roundtable discussion was chaired by Adam Lockhart (Archivist, Visual Research Centre, DJCAD).

Towards a Scottish Collection of Artists’ Moving Image, CCA, 
Panel Discussion and Screening Programme
Friday 13 January 2017

What does it mean to build a Scottish collection of artists’ moving image? What should such a collection comprise and what functions should it fulfil? What might be distinctive about the tradition and culture of artists’ moving image in Scotland? How might a collection encompass a history of this work?

Kicking off our LUX Scotland Collection project, ‘Towards a Scottish Collection of Artists’ Moving Image’ sought to explore these questions through a panel discussion and screening programme entitled ‘Five Propositions’, in which five people working in different roles within the Scottish arts sector were invited to make a personal proposition for a work that should be included in the collection.

Panel Discussion: listen via Soundcloud

Panellists included: Julie-Ann Delaney (Curator, Scottish National Galleries of Modern Art), William Fowler (Curator of Artists’ Moving Image, BFI National Archive), Cloudberry MacLean (Co-founder, Curator, GLITCH Film Festival), Adam Lockhart (Archivist, Visual Research Centre, Duncan of Jordanstone College of Art and Design) and Francis McKee (Director, CCA Glasgow). The panel was chaired by writer and academic researcher, Sarah Neely (University of Stirling).

Five Propositions: listen via Soundcloud

‘Five Propositions’ included:

Moira Jeffrey (Writer): Rosalind Nashashibi & Lucy Skaer, Flash in the Metropolitan, 2006
Alexander Hetherington (Artist, curator and writer): Sarah Forrest, The Pot, 2015
Alexander Storey-Gordon (Artist): Stuart Gurden, Awl-love, 2006
Dr Sarah Smith (Head of Art Context & Theory, GSA): Duncan Campbell, Bernadette, 2008
Anne-Marie Copestake (Artist): Margaret Tait, On the Mountain, 1973

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