LUX Scotland Now at GSA Library!

We’re delighted to welcome you to LUX Scotland at GSA Library, a dedicated artist moving image library. We’ve been working together, drawing from LUX and LUX Scotland’s expansive relationship with artists’ moving image, and the GSA Library’s facilities to bring you Scotland’s first dedicated library for artists moving image. The collection will enable GSA students and library members to gain access to a world of moving image artworks; from early work emerging from the London film cooperatives that gave birth to LUX, through to contemporary practice in Scotland and beyond. We invite you to explore the relationship between books and moving image, and the rich history of moving image within art.

LUX’s history stretches back to the 1960s, with organisations like the London Film Co-operative and London Video Arts establishing themselves. Since its beginnings (and continuing in its current incarnation founded in 2002) LUX has supported a variety of artists and filmmakers working in moving image. This library forms part of LUX Scotland’s more recent engagement with the Scottish artists’ moving image landscape, and we hope it will act as both a key part of our critical engagement with this sphere and a valuable resource for GSA Library users. This space is for you to engage with moving image works both old and new, creating better access, more dialogue and critically considering our interaction with the medium.

Some of the collection’s earliest work is centred around experimental British Film in the 1960s and 70s. A number of artists were involved in the London Film Co-operative which later evolved into part of LUX Moving Image. Lis Rhodes has been in the middle of it from the start. Her role as Cinema Curator in the collective led to her early works that expanded beyond the screen and into space, using the visual qualities of sound. But it wasn’t just Rhodes’ strong formal aesthetics that cemented her place in British filmmaking; her critique of social issues and lack of women’s rights means her work isn’t afraid to bare its teeth. See Light Reading (1978) and get a sense of her folding of narrative, form and materiality.

For more girl-power, see Irish filmmaker Vivienne Dick’s Guerillére Talks (1978), a portrait of women situated in the decaying urban landscape of New York, where Dick made her home as part of the ‘No Wave’ movement. Or check out Rewind and Play: An anthology of early British video art, to see Stuart Marshall‘s films showing the queer communities of the UK and the US in revolt at the inadequate Governmental responses to the AIDs epidemic of the 1980s.

If all this talk about movements and collectives has got you in the mood for some critical theory, check out the LUX 13 Critical Forum Publication How does the group Function? Examining agency, dialogue and the lineage of artistic communities, this publication contains a number of writings, interviews and email excerpts that are perfect to get stuck into. Join the Glasgow Critical Forum to engage in a monthly discussion and share your ideas and practice.


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