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.
Saturday 3 October, St Mary’s Cathedral, Edinburgh
7pm. Free, booking essential
To mark the closing of the Hanne Darboven exhibition at Talbot Rice Gallery, Thomas Dahl (Director of Music and Principal Organist at St. Peter’s, Hamburg) will perform a live accompaniment to singular video The Moon Has Risen (1983), and a rare recital of Darboven’s Requiem.
Primarily concerned with the form of the calendar – as well as the physical annotation of time in the form of dates, numbers, patterns and music – conceptual artist Hanne Darboven (1941-2009) made very few moving image works throughout her career. The Moon Has Risen is a rare and expansive reflection on the artist’s relationship to image-making. The video is comprised of three intercutting episodes – a village carnival, the environs of the artist’s hometown of Hamburg, and the artist’s cavernous home – alongside live musical punctuations drawn from Handel’s ‘Fireworks Music’, diegetic sound from the amusement fair, and Darboven’s own sound compositions, performed in St Mary’s Cathedral for the first time by the prestigious organist Thomas Dahl.
This unique work gives insight not only into Darboven’s taught, minimalist relationship to everyday images, but it also presents an extraordinary window into how an artist might view, create and interact with one’s own vision. The Moon Has Risen asks and celebrates the question of what might make one’s home environment a logic unto itself.
This event combines The Moon Has Risen with a Scottish premiere recital of Darboven’s signature composition, Requiem, also performed by Dahl on organ. “Often hinting at the opposite of its calendrical, self-evident rigor,” says curator and writer Fionn Meade in his description of Requiem, “Darboven’s compositional ardor embodies, corrupts, and renews time.”
This event is a collaboration between Talbot Rice Gallery, Goethe-Institut Glasgow, and LUX Scotland, with support from Hanne Darboven Stiftung.
Image: Excerpt from Hanne Darboven, Vierjahreszeiten, Opus 7, 1981/82 © Hanne Darboven Stiftung Hamburg / VG Bild-Kunst, Bonn 2015
This generative tour explores artists’ moving image in Scotland over the past 100 years, and is travelling across six national host venues. The project showcases the rich tradition of artists’ filmmaking in Scotland, and begins a conversation with audiences, venues and artists about what might constitute a distinctly Scottish tradition in both a national and international context.
Each of our six host venues will adapt the programme in response to their own context, by adding a work that they commissioned or is particularly resonant to their area; organising a live event that roots the discussion in their region; or developing a series of talks and readings with their local audiences. As the project progresses, the tour will change and expand beyond the original programme.
Details of the following projects can be found on the dedicated #whereiam2015 platform.
7pm, Thursday 4 December, Talbot Rice Gallery, Edinburgh
Looking, Mediated is a new screening programme of moving image works by artists who utilise, address and challenge contemporary forms of visual experience. Often traversing formal boundaries, these works explore how we view and interact with imagery today, and how these interactions inform social and cultural relationships both on and off the screen. Through forms of audio-visual production such as green screen, 3D animation, avatars, ASMR, image galleries, self-broadcast and interpretative documentary, the potential of the screen as a site for the departure from, or surrogate for, reality is interrogated.
Looking, Mediated is curated by Matt Carter for LUX.
Johann Arens, Marte e Venere – A Handheld Monument (2013, 10’08, HD video, colour, sound)
Patrick Hough, Object Interviews (Part I) (2013, 6’07, HD video, colour, sound)
Helen Carmel Benigson, The Future Queen of the Screen (2011, 9’18, HD video, colour, sound)
Lucy Clout, Shrugging Offing (2013, 10’39, HD video, colour, sound)
Patrick Hough, Object Interviews (Part III) (2014, 5’30, site specific commission)
Richard Healy The Pines (2014, 4’50, HD video, colour, sound)
Harun Farocki, Parallel IV, 2014, HD Video, 12 mins
For this screening, artist Fabienne Hess has been commissioned to make a new work, The Least Important, Talbot Rice Gallery, an image archive containing the least important images submitted by the audience of Talbot Rice Gallery, Edinburgh. Participate in this event!
The Least Important is the second in a series of works, first commissioned for Art Licks Weekend, London in October 2014.
Harun Farocki’s work is included with kind support from Video Data Bank, Chicago.