LUX Scotland is currently working towards establishing a new distribution collection of artists’ moving image work based in Scotland. The LUX Scotland Collection is conceived 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 and touring projects. We also aim to generate academic scholarship and discourse through writing, research and publishing to provide a critical and historical context for understanding this body of work.

In January 2017, we launched a programme of public dialogues that aim to provide a platform for consultation with the arts community in Scotland on the question of what it means to establish such a collection and what it should contain. The collection is being developed as an open research project, learning from previous instances of collection building both at LUX and in Scotland, exploring current best practice.

Audio recordings of our collection-related events are also available in written format. If you would like to receive a copy, please email us at scotland [at] lux.org.uk

Public Programme: Towards a Collection of Artists’ moving Image In Scotland

Centre for Contemporary Arts, Glasgow

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?

This event, which marked the launch of the LUX Scotland Collection project, sought to explore these questions through a panel discussion and screening programme entitled Five Propositions, in which five individuals working in different capacities across the visual arts and moving image sectors in Scotland were invited to make a personal proposition for a work that should be included in the collection.

Panel Discussion

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

Five Propositions

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Rosalind Nashashibi & Lucy Skaer, Flash in the Metropolitan, 2006
Selected by Moira Jeffrey (writer)

Sarah Forrest, The Pot, 2015
Selected by Alexander Hetherington (artist, curator and writer)

Stuart Gurden, Awl-love, 2006
Alexander Storey-Gordon (artist)

Duncan Campbell, Bernadette, 2008
Dr Sarah Smith (Head of Fine Art Critical Studies, Glasgow School of Art)

Margaret Tait, On the Mountain, 1973
Anne-Marie Copestake (artist)

 

Dundee Contemporary Arts

Wednesday 3 May 2017

Following the launch of the LUX Scotland Collection project in Glasgow in January 2017, this event opened with Five Propositions, a screening series for which five individuals working in different capacities across the arts and moving image sectors in Scotland presented and introduced a personal proposition for the collection. The propositions raised various questions, including how the selection process for the collection could function; where the border between documentary and artists’ moving image lies; and how a collection of artists’ 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

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Roderick Buchanan, Keep Her Lit, 2012 (view this work here)
Selected by Jacqueline Donachie (artist)

Kyra Clegg and Su Grierson, Forest is …, 2015
Selected by Pernille Spence (artist and lecturer & researcher in Time Based Art & Digital Film, Duncan of Jordanstone College of Art and Design)

Sam Gonçalves and Anna Olafsson, The Lifespan of Utopias with Live Score, 2016 (view this work here)
Selected by Hari MacMillan (artist and committee member, GENERATOR Projects)

Winnie Herbstein, Circling Roads, 2016
Selected by Laura Simpson (Programme Manager, Hospitalfield)

Pictorial Heroes (Doug Aubrey & Allan Robertson), Sniper, 1987/88 (view this work here)
Selected by Stephen Partridge (artist and Associate Dean of Research, Duncan of Jordanstone College of Art and Design)

Roundtable Discussion

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Panellists included: Gair Dunlop (artist and lecturer in Time Based Art & Digital Film, Duncan of Jordanstone College of Art and Design), 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, Duncan of Jordanstone College of Art and Design).

National Galleries of Scotland, Edinburgh

Tuesday 25 July 2017

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?

Each presentation provided 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.

Presentations

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Introduction from Nicole Yip (Director, LUX Scotland) and Benjamin Cook (Director, LUX)

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)

Brian Castriota (time-based media conservator and doctoral candidate, University of Glasgow)

Panel Discussion

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In the panel discussion which followed previous speakers were also joined by Rachel Maclean (artist). The panel was chaired by Kirstie Skinner (Director, Outset Scotland and editor and lead researcher, Collecting Contemporary: Curating Art Collections in Scotland).