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.

News / Resources
Resource: AMIF 2016 Modern Edinburgh Film School Edition

Posted on December 6th, 2016 by LUX Scotland

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Modern Edinburgh Film School, AMIF 2016 Edition.

Thanks go to Alex Hetherington of Modern Edinburgh Film School for producing a beautiful edition to document AMIF 2016 this year, programmed by Sarah Tripp and Ed Webb-Ingall. We have a series of printed editions available at both our LUX Scotland offices and Tramway, Glasgow. Should you be interested in obtaining a copy, please email us on scotland@lux.org.uk, or pick up one in the CCA or Tramway foyer this week!

Alternatively, feel free to read the edition online.

Image: AMIF 2016 Modern Edinburgh Film School, credit, Matthew Arthur Williams.

Events / News
Workshops: #AMIF16 with Ed Webb-Ingall

Posted on September 1st, 2016 by LUX Scotland

 

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Friday 2 September, 5-8pm
Monday 26 September, 5-8pm
Tuesday 18 October, 5-8pm
Tramway, Glasgow

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.

Events / News
#AMIF2015 (Artists Moving Image Festival)

Posted on September 9th, 2015 by LUX Scotland

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Saturday 12 – Sunday 13 September, Tramway, Glasgow
Tickets available from the Tramway box office: 0845 330 3501
Day Pass: £6/£5 Festival Pass: £10/£8. Booking advised.

Tramway’s annual Artist Moving Image Festival, #AMIF2015, examines the role of collective thinking and making. Presenting collaborative forms of production and research, this year’s festival considers what it means for a group to constitute a single body of work and, inversely, how one can speak on behalf of collective thought or action.

As part of #AMIF2015’s special focus on the life and legacy of Stuart Marshall (1949-1993), artist Conal McStravick leads a workshop that invites participants to engage in collaborative work, collective reading, and group annotation. This workshop is limited to 20 places. Booking  is essential and can only be made online here.

The festival includes programmes from Conal McStravick with Laura Guy and Ed Webb-Ingall, LUX Critical Forum Glasgow, Norms, tenletters, and Transmission; and includes work by Liam Allan, Catharine Anyango, Dan Auluk, Lorna Boschman, Emma Charles, Karen Cunningham, Lewis Den Hertog, Aideen Doran, Jemma Egan, Richard Fung, Warren Garland, John Greyson, Toby Huddlestone, Stuart Layton, Zoe Leonard and Catherine Saalfield, Maryniak and Mclean, Tom Kalin, Anja Kirchner and David Panos, Pratibha Parmar, Mathew Parkin, Fred Pedersen, Falke Pisano and Luca Frei, Yvonne Rainer, James Richards and Steve Reinke, Marlon Riggs, Emily Roysdon, Helke Sander, Jack Saunders, Susannah Stark, Alexander Storey Gordon, Elisabeth Subrin, Jane Topping, Charlie Tweed, Grace Williams, Laura Yuile, and more; as well as a special two-day focus on the legacy of the artist Stuart Marshall (1949 – 1993).

#AMIF2015 is programmed by collectives and collaborators with an explicit link to Glasgow, and co-organised by Tramway and LUX Scotland, with support from LUX.

Events / News
Screening: Stuart Marshall, ‘Over Our Dead Bodies’

Posted on June 11th, 2015 by LUX Scotland

Gran-Fury Men use condoms

Presented by Conal McStravick with Ed Webb-Ingall and Laura Guy

7.30pm, Sunday 5 July, GFT, Glasgow

Tickets available from GFT box office

Originally broadcast as part of the OUT series on Channel 4 in 1991, Stuart Marshall’s film documents the origins of the AIDS activist movement in the US and the UK, and the gay community’s growing anger and frustration with the inadequate response to the epidemic. While the film celebrates the real successes of this movement, it also examines the problematic debates within it concerning democracy, representation, power differentials, as well as the relationship between homophobia, racism and sexism.

London-based artist Conal McStravick, along with researchers Ed Webb-Ingall and Laura Guy, presents Over Our Dead Bodies as part of McStravick’s ongoing enquiry into the life and legacy of Marshall and his collaborators. In both their introduction and post-screening Q&A, the three will discuss what these mean now for artists concerned with this material and these issues.

This screening is part of the GFT’s Crossing the Line series, and is delivered as part of LUX Scotland’s forthcoming Artist’s Moving Image Festival (AMIF) Prologues for #amif2015 in September 2015, which will have a special profile of the legacy of Stuart Marshall.

 

Image: Gran Fury poster, as featured in Stuart Marshall’s Over Our Dead Bodies.

Events / News
AMIF 2015 Prologue #1: Yes, But Is It Edible? The music of Robert Ashley, for two or more voices

Posted on February 19th, 2015 by LUX Scotland

Yes, but is it edible?

Friday 6 March 2015, 7:30pm 

Free tickets available on the day from Tramway Box Office. Limited capacity. Arrive early to avoid disappointment.

For the first in a series of Prologue events for this year’s fifth edition of the Tramway Artists’ Moving Image Festival, Will Holder and Alex Waterman read duets from the operas of Robert Ashley.

“Some years ago we proposed to Robert Ashley that musicians and non-musicians might produce new versions of his operas, by way of typographical scores. The bulk of this book is a result of that proposal: scores for Dust (1998) and Celestial Excursions (2003). These operas’ characters have, until now, been solely produced by and are the stories exchanged between Ashley and his “band” (singers Sam Ashley, Joan La Barbara, Thomas Buckner, and Jacqueline Humbert); in landscapes (technological, imaginary, acoustic, organisational, sonic, ocular) produced by “Blue” Gene Tyranny, Tom Hamilton, David Moodey, Cas Boumans, and Mimi Johnson—the result of a thirty-year relationship. Any “scores,” as such, weren’t written for this intimate readership. It hadn’t been considered that any one outside this “band” might produce this work.”

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