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.
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