Berlin-based artist Liz Rosenfeld will present Queer Ecologies, 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.
Please note that this programme contains sexually explicit material that some audiences may find disturbing.
Waves was hand wound though the camera backwards and forwards as the waves on a beach built up and broke on the shore.
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.
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.
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.
‘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
A popular lesbian ‘commercial,’ 110 images of sensual touching montages in A, B, C, D rolls of ‘kinaesthetic’ editing.
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.