A listing of all LUX projects that took place during 2007

Projects 2002
Projects 2003
Projects 2004
Projects 2005
Projects 2006

Sunday 14th January 2007, 7pm
LUX presents an evening of film and performance dedicated to inclement weather, IN THE COLD, COLD NIGHT at Arcola Theatre, 27 Arcola Street, London, E8 2DJ
with performances by: Heather Jones X, Andrew Gaston, Paul Hood, Susan Turcot, Dirty Snow and Viralux and a screening of Michael Curran's LOVE IN A COLD CLIMATE
“The white bees are swarming,” said Grandma. “Do they have a queen too?” asked the little boy, for he knew that real bees had such a ruler. “Yes,” replied Grandma, “ she always flies right at the centre of the
storm”
IN THE COLD, COLD NIGHT will invoke the chill in winter tales, ice crystals, battles of love and silence of snow. Crossing the boundaries between music and art a focused constellation of performances will introduce a special screening of LOVE IN A COLD CLIMATE. Taking the form of a fractured journey LOVE IN A COLD CLIMATE explores notions of coldness, the act of storytelling and loneliness, all haunted by the spectre of Hans Christian Anderson's Snow Queen. Whilst seeking the actress Natayla Klimova, who played the role of the Snow Queen in Gennadi Kazinski's 1966 LENFILM production, Curran drifts through a series of episodic encounters which all strangely reflect upon his concerns. Comprised of telephone
recitations, fairy story, chance meetings and weather changes Love in a Cold Climate emerges as an essay in love and longing.

LUX SALON
The LUX Salon returns with a new monthly series of guest curated
screenings delving into the vaults of the LUX collection to show the
classics - known, lost and forgotten…

Wednesday 21 February 7pm for 7.30pm start
LUX SALON: HEY! Work It Out For Yourself
Two rarely seen films exploring the authenticity of production and interpretation, selected by Jackie Holt. Margaret Raspé’s ‘Oh Death How Nourishing You Are (1972-3, Germany, 15 min, Super-8) explores
issues of personal responsibility and death, through the lens of Raspé’s purpose-built ‘camera helmet’. Stephanie Beroes’ ‘Debt Begins at 20’ (1980, USA, 40 min, 16mm), is a semi-fictionalised record of
the early years of the Pittsburgh punk scene. ‘Oh Death How Nourishing You Are’ will be accompanied with a live musical performance from LORD JOHN.
LUX Salon takes place at LUX OFFICE, Shacklewell Studios, 18
Shacklewell Lane, London, E8 2EZ. ADMISSION FREE. Places are
extremely limited so booking is essential. To book a place send your
name to salon at lux.org.uk

Wednesday 21 March 7pm for 7.30pm start
LUX SALON: Power Tripping, selected by Benjamin Cook.
Two underground cult films meditating on control and paranoia from the LUX Collection. Scott and Beth B’s ‘Letters to Dad’ (1979, 13 min, 16mm) superimposes the power relations between Jim Jones and his followers onto the parapunk art world of 70s New York and Paul Bartel’s ‘Secret Cinema’ (1966, 30 min, 16mm), a dark/ funny satire on cinematic manipulation from the director of Death Race 2000 and Eating Raoul.

LUX Salon takes place at LUX OFFICE, Shacklewell Studios, 18
Shacklewell Lane, London, E8 2EZ. ADMISSION FREE. Places are
extremely limited so booking is essential. To book a place send your
name to salon at lux.org.uk

Wednesday 18 April 7pm for 7.30pm start
LUX SALON: WHAT DO WE GET OUT OF IT?
IS THAT IT?, Wilf Thust / Four Corners (UK 1985 16mm)
Three selected episodes, 43 min
Three episodes from a rare film made by Wilf Thust for Four Corners film workshop, based in Bethnal Green. Four Corners was one of several workshops throughout the UK which benefited from funding by
the nascent Channel 4, as well as a relaxation of broadcast union laws, to work with people and audiences outside of the normal context for film and video practices in the 1980s. Produced from material
gathered during a series of Monday workshops with young people in Tower Hamlets, Is That It frames the relationship between the film maker and the workshop participants as it develops over a two-year
period. Photographs, plays, drawing and writing by the group are cut together with socio-economic statistics on the borough, and reflections on the workshop process. Open ended and at times
problematic, the film can be seen as a treated document of an attempt to open up communication “in a group where different classes, races, ages meet”. (W.T.)
The screening will be accompanied by an audience discussion with the film-maker and Richard Pierre-Davis of Mongrel. The discussion will centre on the implications of the historical model of ‘integrated
practice’ for contemporary film and video institutions, and the recent shift toward top-down policy models for social inclusion.
Selected and chaired by Tom Roberts.

21 – 22 April
Whitechapel Gallery and LUX present A WEEKEND WITH ALFRED LESLIE
Whitechapel Gallery, London http://www.whitechapel.org
Alfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social
milieu of downtown New York from the 1950s and 60s to the present, his own canvases were amongst the most revered of his peers. In 1964 he made Pull My Daisy with the photographer Robert Frank and in 1966
collaborated with the inimitable poet Frank O’Hara on The Last Clean Shirt. In 1960 he edited and published the amazing collection of texts and drawings that form the “one shot review” The Hasty Papers – in and of itself a summation of cultural activity with contributions from Allen Ginsberg, John Ashbery and Fidel Castro amongst may others. Leslie dramatically moved away from abstraction to make giant almost hyper-real portraits, the majority of which were destroyed in the now infamous fire that ripped through his studio and its neighbouring blocks on October 17 1966. This utterly devastating event, that
completely destroyed paintings, films and manuscripts, continues to inform his practice today. Invariably articulated by an initial process of reconstruction Leslie’s recent work makes memory new through its radical re-imagining. He lives and works in New York. This weekend-long season is the first major presentation of Alfred Leslie’s films in the UK. It is introduced and discussed by Leslie who is an extraordinary orator and includes two exclusive screenings of works in progress.

Thursday 26 April
The LUX/ Whitechapel Gallery new work showcase returns inviting guest
curators to select the best of new British artists’ moving image work:

NEW WORK UK: PASTORAL. STEPHEN SUTCLIFFE/ EMILY WARDILL, curated by
Michelle Cotton at Whitechapel Gallery, London. http:/
www.whitechapel.org
Pastoral is a programme of recent work by Stephen Sutcliffe and Emily Wardill. Stephen Sutcliffe combines sound and footage from an extensive archive of material recorded from television and radio broadcasts. English poetry is read with thespy precision and meshed with streams of music and spoken word to emphasise or undercut another story told on film. Collaging ideas from traditions in literature, encountered in neo-romantic cinema or excerpts of rogue video Sutcliffe reworks a received version of familiar, native territory recounted in a cultural heritage.
Stephen Sutcliffe was born in 1968 and studied at Glasgow School of Art and Cal Arts, he lives and works in Glasgow. Recent exhibitions include solo presentations at Tart Contemporary (San Francisco),Tramway (Glasgow) and group exhibitions Art Now Lightbox Tate Britain, Pass the Time of Day Gasworks Gallery (touring exhibition), Zenomap, Venice Biennale 2003, Electric Earth: Film andVideo from Britain, a British Council touring exhibition.
Emily Wardill’s work is concerned with the communication of ideas and agency implicit in the structure of language and formulation of material by the media. Her 16mm films isolate detail from a complex, metropolitan vernacular edited with a syntax of absences in sound and image. Structured in reference to a single metaphor or motif, Wardill’s films construct a formal investigation of the social and psychological implications of the media she employs for formulation of consciousness and the construction of self.
Emily Wardill was born in 1977 and studied at Central St Martins College of Art & Design, she lives and works in London. Recent exhibitions include solo presentations at Fortescue Avenue and group exhibitions Art Now Lightbox Tate Britain, Among the Ash Heaps and Millionaires Ancient & Modern, London and Romantic Detachment PS1 New York, Chapter Arts Cardiff and Q Arts Derby. Wardill is represented by Fortescue Avenue, London and her films are distributed by LUX.

2 – 30 May
THE SUBJECTIVE CAMERA at Greenwich Picturehouse, London
The Subjective Camera is a series of retrospective film screenings of six film artists whose work examines subjectivity with an analysis of film language. Emerging within the context of the London Filmmakers’
Co-op during the ‘80s and ‘90s, these artists each developed an independent practice that at once built on and countered the principles of the Structuralist film movement of the ‘70s. Their films extend anti-illusionist explorations of the materiality of film and incorporate investigations of the materiality of the body. With their shared history, that situates the artist at the centre of the physical process of putting the film together, sometimes as camera person as well as editor, these six artists weave into the filmmaking
process a broad scope of contemporary concerns, from religion to psychoanalysis, the spaces of abstraction, voice, language and song, to the dialogue between personal and meta-narrative. http://
Wed 2 May, 6:45 pm NINA DANINO
Wed 9 May, 6:45 pm ALIA SYED
Wed 16 May, 6:45 pm MICHAEL MAZIERE
Wed 23 May, 6:45 pm SANDRA LAHIRE
Wed 30 MAY, 6:45 pm SARAH PUCILL

Friday 4th May 8pm
Select: A Night with Rosalind Nashashibi
as part of Late at Tate Britain, Clore Auditorium, Millbank
'...the coming together of the elements and apparatus that make film, whether sound and picture, projector and screen, or coloured lights meeting to make white light; in parallel with the collision of the
real and everyday against the miraculous that film effects' Artist Rosalind Nashashibi presents a night of films and performances. Including work by Thomas Bayrle, Bonnie Camplin, Morgan Fisher, John Smith, Apitchatpong Weerasethakul and performances by Sue Tompkins and Will Holder.
Select is a LUX/ Tate collaboration inviting British artists to curate a night of film and performance which inspires them

24rd May – 24th June
OPENING Wednesday 23rd May 6 – 9pm
INVISIBLE MEND at Lounge, 28 Shacklewell Lane, London, E8 2EZ
Chrissy Coscioni, VALIE EXPORT, Emma Hart & Benedict Drew, Jasmina ,Fekovic, Ursula Mayer, James Richards, Jonty Semper, Elizabeth Subrin. Since the beginning of the twentieth century artists making moving images have exploited industrial cinema as ‘found’ images to be reinterpreted, manipulated and represented as art. Invisible Mend, a group show of mainly young artists, presents a collection of works
that seem to strategise in a similar way while actually drawing their material from radically different sources, simulating the look of the ‘found’ or exploring as much a set of radical (over) identifications with their subjects as a set of formal, political or historical questions. The works vary wildly in their aesthetics but what they have in common is an exploitation of the invisible: refutations of the permissible in the name of personal or political expression, a rewriting of history and to travel through time and
space, through imaginary forays against and within dominant culture, escaping into new landscapes of desire. Criticality is manifested through an ebullience that replaces strict analysis with intuition,
an interplay of emotional registers and often a disarming sense of celebration. As well as the exhibition at Lounge, Invisible Mend extends into a series of events throughout June.

Invisible Mend is curated by Ian White and LUX. http://www.lux.org.uk/invisiblemend

Wednesday 23rd May 7pm
Real Institute in association with LUX present 'Shoot, Shoot, Shoot!
Expanded Cinema' at Wrexham Arts Centre, North Wales.
“Shoot Shoot Shoot” presents historic works of Expanded Cinema, for which each screening is a unique, collective experience. Programme includes Castle Two (Malcolm Le Grice, 1968), Play (Sally
Potter, 1971), Diagonal (William Raban, 1973), Hand Grenade (Gill Eatherley, 1971), Light Music (Lis Rhodes, 1975-77), Line Describing a Cone (Anthony McCall, 1973).

Curated by Mark Webber. http://www.realinstitute.org

Wednesday 30th May 7pm for 7.30pm start
INVISIBLE MEND SALON: SHULIE
On the occasion of the Invisible Mend exhibition, LUX Salon takes the
opportunity to screen Elizabeth Subrin’s SHULIE in a female only study salon. Subrin resurrected a little-known 1967 documentary portrait of a young Chicago art student, Shulamith Firestone, who a few years later would become a notable figure in Second Wave feminism and the author of the radical 1970 manifesto, The Dialectic of Sex: The Case for Feminist Revolution. Subrin’s version re-creates the original, shot for shot, and in the process arcs 40 years of feminisim. Using the film as a catalyst to form a discussion group we will look at the issues that resonate through the film; about identity, the
construction of histories and how they reflect on the current interest in feminist work and assess the significance.
Facilitated by Jackie Holt and Emma Hedditch. LUX Salon takes place at LUX office, 3rd Floor, 18 Shacklewell Lane, London, E8 2EZ. Admission Free but places are very limited so pre-booking is required, to book a place email salon at lux.org.uk

Sunday 3 June 12.30 – 4pm
TONY CONRAD and Finnish Experimental films at Curzon Soho, London
http://no-signal.net/tonyco/screening/
To coincide with the live live music event taking place on Friday June 01 at St Giles in the field (w/ TONY CONRAD feat. PAAVOHARJU, RICHARD YOUNGS and ISLAJA), the London based experimental music
production [no.signal] - in collaboration with the Curzon Soho, the Finnish Institute and LUX is presenting a special screening of Tony Conrad's films along with selected Experimental Finnish films.

Thursday 7 June, 7pm for 7.30pm start
INVISIBLE MEND SALON: DEVOTION curated and presented by James Richards
A collection of videos and found footage which are very much about the camera/editor as an off screen character with an ambiguous or subverted relationship to the events being depicted in the video. While often awkward or obsessive in tone the material shown is also about fantasy and the re working of found material or the staging and depiction of events as an act of devotion..including work and found footage by James Richards, George Kuchar, Steve Reinke, Anne McGuire, Matthew Probert, Kim Fielding, and mary cigarettes. LUX Salon takes place at LUX office, 3rd Floor, 18 Shacklewell Lane, London, E8 2EZ.
Admission Free but places are very limited so pre-booking is required, to book a place email salon at lux.org.uk also late opening of Invisible Mend exhibition until 9pm at Lounge, 26 Shacklewell Lane, E8 (same building as LUX)

Sunday 10 June, 8pm, £5
INVISIBLE MEND PERFORMANCE
Arcola Theatre, 27 Arcola Street, London E8. (tickets from Arcola box
office, 020 7503 16 46 http://www.arcolatheatre.com/)
EMMA HART & BENEDICT DREW, JAMES RICHARDS & KEVIN HOWBROOK, MARK LECKEY
An evening of live works that cross between cinema and performance, strategies of appropriation and magical formalism. To a projected backdrop James Richards and Kevin Howbrook present an improvised music and spoken word performance. Using turntables and a sampler james creates live sound design and foley fx for the video footage and stories read by Kevin.
In Emma Hart & Benedict Drew’s Untitled Two a 50-foot length of film with black and white frames is projected by running the filmstrip from the projector and through the strings of an electric guitar held
by Drew who stands in front of the screen. The string is plucked each time a splice passes. The effect is disconcerting as the increasingly staccato flashing of the projector, in tension with the distorting guitar strings, takes the viewer into a territory that is immediately personal, sexual and mesmerizing.
Plus CINEMA-in-the-ROUND a lecture by Mark Leckey. Professor Leckey presents a specially conceived collection of film, video, sculpture, painting and other works that "come to life" on screen, grasping as
much at intangble mass, weight and volume as the indescribable essence of objects of which he is enthralled. Leckey shifts between an essay on the nature of images, the magic of cinema and an anti-
authoritarian art history to an impassioned, personal declaration on the stuff of things in the material moment that we see them on screen.

Wednesday 13 June 7pm for 7.30pm start
LUX SALON: MIACA at LUX
As part of an exchange project between LUX, UK and the Moving Image Archive of Contemporary Art (MIACA), Japan, MIACA presents a special lecture and screening of contemporary Japanese artists' video at LUX on Wednesday 13 June. Includes a lecture by Hitomi Hasegawa and Mayumi Hirano of MIACA about its work and the arts scene in Yokohama and a screening of work by Tetsushi Higashino, Takehiro Iikawa, Tetsuya Karatsu, Takuro Kotaka, Chikara Matsumoto, Kaeko Mizukoshi, Daisuke Nagaoka,Masanobu Nishino, Mai Yamashita + Naoto Kobayashi.
This event is generously supported by The Daiwa Anglo-Japanese Foundation, The Great Britain Sasakawa Foundation and The Japan Foundation.
LUX SALON takes place at LUX, 18, Shacklewell Lane, London, E8 2EZ.
ADMISSION FREE, places are extremely limited so booking is essential.
To book a place email salon at lux.org.uk

Friday 15 June, doors 9pm starting at dusk, £3
VALIE EXPORT: Invisible Adversaries (Unsichtbare Gegner)
LUX, 3rd Floor, 18 Shacklewell Lane, London, E8 2EZ (outdoor rooftop
screening)
EXPORT’s seminal first feature is a tour-de-force of radical paranoia presented in a special rooftop screening overlooking the city. Anna wakes to a radio signal that she interprets as an alien invasion. Her investigations are an exegesis on the self, mental instability, the media and sexual politics. 'The film feels a little as if Godard were reincarnated as a woman and decided to make a feminist version of The Invasion of the Body Snatchers' Amy Taubin.
Presented in collaboration with Cinenova www.cinenova.org.uk and with thanks to Faction Films. Booking essential as places are limited,
email salon at lux.org.uk also late opening of Invisible Mend exhibition until 9pm at Lounge, 26 Shacklewell Lane, E8 (same building as LUX)

Saturday 16 June - Sunday 17 June
Learning behaviour, learnt action, unlearning knowledge: A weekend of
work from the Cinenova collection
Whitechapel Gallery, London
Through such publications as the seminal magazine Screen in the 1970s and Laura Mulvey's essay 'Visual Pleasure and Narrative Cinema' psychoanalytic theory was introduced into the study and practice of both film and art. At the same time the consciousness-raising activity of the Women's Movement engaged in workshop-based film production and screenings as a means to activate discussions about women's lives, document their stories and allow women to experience their subjectivity. This weekend of screenings explores both these developments through special presentations and film and video drawn from the collection of the women-only distributor Cinenova and unique special projects by Laura Mulvey herself and American artist Sharon Hayes.
The Whitechapel Film Programme is presented in collaboration
with LUX. Full programme details at http://www.whitechapel.org

Thursday 21 – Saturday 23 June, 3 - 5 pm
INTERIORS, URSULA MAYER
2, Willow Road, Hampstead, London, NW3 1TH Telephone: 020 7435 6166
Shot to a high finish in the house at 2 Willow Road designed by the architect Ernö Goldfinger, the location for its exhibition here, two women – one old, one young – move through a set of modernist
rooms, across hallways and up and down stairs, never meeting, never speaking. They variously gravitate towards and linger around what looks like one of the British sculptor Barbara Hepworth’s infamous,
intimate works.
Presented as part of Architecture Week 2007.

21 - 23 June 2007, 11am - 5pm
Wake Work, Charlotte Ginsborg and Rose Kowalski
exhibition at LUX, Shacklewell Studios, 18 Shacklewell Lane, London,
E8 2E
Wake-Work is a 16mm film that explores what it means to work. Its subject matter is one building, 18 Shacklewell Lane, a converted warehouse, and the people employed there. As a cinematic portrait the film cuts across genres of documentary, art and drama to provide an intimate social document of the changing working patterns taking place in east London at the start of the twenty first century. It addresses work as a form of theatre and depicts how the rhythm of human activity is affected by the physicality of architecture. The sound track is composed of 12 characters testimonies edited together to create an imaginary discussion that reflects on role-play, identity, and power in the workplace. Through depicting cigarette breaks, generic meetings and office spaces the film draws attention to how characters communicate without words, and the potency contained within their mundane actions and momentary glances. The
‘naturalness’ of the voices, combined with the overtly staged but restrained dramatisation of people moving through their environment present the viewer with an ambiguity as to exactly what they are watching. What results is an epic account of the everyday.

Wednesday 20 June 7.30pm
Launch Screening and Talk.
Screening of Wake Work and The Mirroring Cure by Charlotte Ginsborg followed by a discussion between the artists, Charlotte Ginsborg and Rose Kowalski and Michael Oades, director of atomikarchitecture, an architecture and interior design practice, based at 18 Shacklewell Lane. Admission Free, to book a place email salon at lux.org.uk part of Architecture Week 2007.
http//:www.architectureweek.org.uk

Thursday 19 July, 7.30pm, £5
New Work UK: You and Me
Whitechapel Film Programme
Whitechapel Art Gallery, Whitechapel High Street, London E1 7QX

The best of recent British film and video selected by independent curator Polly Staple. Presented in association with LUX: Pablo Bronstein, Bonnie Camplin, Keren Cytter, Haris Epaminonda, Jaki Irvine, Hilary Lloyd, Lucy Skaer, Cathy Wilkes

The programme consists of a selection of works made between 1996 and 2007 across a range of film media. A number of the artists are not primarily filmmakers and they bring a range of disparate influences to their exploration of film and video’s ability to play with space, time and sound. Two artists not based in the UK are included - Keren Cytter and Jaki Irvine - as evidence of a shared set of concerns that construct a dialogue beyond the terms ‘new’ and ‘British’.

The intention with the programme is to create a specific atmosphere, a proposal for a cinematic experience. The works eschew easy categorisation revealing tensions between documentary and staged performance, fictitious narrative and enigmatic portraiture, aura and presence, memory and image. The domestic and a low-key approach to production characterises the selection. The use of varying linguistic registers and editing techniques creates a distinct rhythm and pace: a precise choreography focusing on the spaces between people and things, an abundance of melancholic posturing and charged silences. The programme explores how we construct and communicate personalities - both private and public, intimate and absurd - the power of iconography, subject-hood, the object-ness of objects, the materiality of film, something between the hand and the eye, the gap between you and me.

The programme lasts approximately 30 minutes and will be shown twice with an interval for discussion.

Wed 12 September, 7.30
Babette Mangolte's The Camera: Je or La Camera: I
Whitechapel Gallery, London, E1 7QX
In conversation screening with filmmaker Babette Mangolte and Ian White, Adjunct Film Curator, Whitechapel.
'An experimental film which acts out the view of a photographer on her subjects and the city she lives in, New York. The film uses a technique of subjective camera, to give to the spectator an active sense of the problematics in the relation of camera to subject, photographing to photographed. "The film is a description of the act of making photographs from the point of view of the still camera and therefore the point of view of the photographer. This technique of 'subjective camera' places the person who looks at the film in the same relation with the screen as the one of the photographer with her subjects, therefore giving to the spectator, on a first-hand basis, so to speak, a direct experience of the tension as well as the wanderings and timing of a photographic session, and a way to understand and perceive the relation between photographer and subject, a relation which is not about dialogue but about power, power of saying yes or no to the taking of the photograph, power however undermined by the elements of anxiety (coming from both sides, the subject and the photographer). The situation is turned around at the end of the film when the power is shown to belong to the performer on the screen, acting as a critic, looking at the photographs displayed in front of him, and questioning by his look the work of the photographer. "We guess along the way the character of the photographer, a woman, through the kind of pictures she is taking: portraits in the first part, streets and buildings in the second part. This double structure is conceived as a metaphor of the inherent dual aspect of the act of taking a photograph: being outside with the still camera, being removed and maintaining the distance which is felt necessary to judge and take the picture as opposed to the desire to participate and be included, to be inside of it..."A going back and forth between observation and sentiment or imagination, the film is a self-portrait of the photographer-filmmaker during the years 1976-1977.' Babette Mangolte, March 1978.

Presented in association with John Hansard Gallery, Southampton as part of the exhibition Live Art on Camera, 18 September - 10 November which includes other work by Babette Mangolte.

Sat 15 September, & 16 September
PingPong d'Amour
Whitechapel Gallery, London, E1 7QX
Le PingPong d’Amour is a Nouvelle Vague soap opera - a project in three parts by a collaborative group of German artists and filmmakers. It brilliantly exploits the populist form while referencing the work of radical German playwright Heiner Müller and examining contemporary artistic practice, philosophical and theoretical discourses through role play, humour, conceptual and symbolic codes, text and computer graphics. This is the first time these extraordinary works are being shown outside of Germany.
In Part I, a group of friends share a flat and undergo peculiar yet systematic discussions and experiments that investigate style, work, money and love.
Following their essay on the life/work conundrum in and enriched by their new-found knowledge, our protagonists come together again in Part II. Emblematic of the nouveau riches they abandon their Berlin apartment for the Rodin Museum in Paris, to explore genius and doomed rebellion. Eventually they are irrevocably affected by a funeral on a strange volcanic island and descend into personal conflict. The virtuous utopia of collective living is revealed as futility. The friends embark on a process of separation and consequent political engagement that result in a series of six films with one mission: to move beyond the self into The World…
Part III.To make an account of representation, the ethnographic gaze and our post-colonial condition, small groups of friends are dispatched across the globe to locations as diverse as Cameroon, Togo, Guadeloupe, Turkey and Syria. Each group turns their experiences into a short film, shown here in separate programmes with related artists’ work: new video by American artist Vanalyne Green that examines anxiety; Sarah Vanagt’s Little Figures, a beautiful and deeply moving exegesis of post-colonial doubt spoken by the voices of young children; queer aesthetics and political activism in work by Luc Compernol, Frédéric Moffet and the notorious pop video for Mark E. Smith and Mouse on Mars’s new joint venture Von Sudenfed; Mark Aerial Waller’s Senegal-set science fiction prelude Superpower: Dakar Chapter and Jean Rouch’s seminal essay on imperialism, documentary filmmaking and radical authority Les Maîtres Fous; the incisive poetics of Jimmy Robert’s Brown Leatherette.

Ian White is Adjunct Film Curator, Whitechapel. Curated in collaboration with Ken Pratt, supported by Goethe Institute, London and presented in association with LUX.

Fri 21 September
Basement Basement.
basement gallery, Candid Arts, 3 Torrens St, London, EC1V 1NQ
A celebration of the artist run space Ayton Basement, Newcastle through work by some of the artists who showed there.
In 1976 a few month after artists run space 2B Butler’s Wharf opened in London, Ayton Basement opened on the quayside in Newcastle Upon Tyne. ‘A space run by artists for contemporary work in video, film, and live performance’. It would present work by Kevin Atherton, Eric Bainbridge, Paul Burwell, Nicolas Collins, Stuart Marshall, David Critchely, Roland Miller and Shirley Cameron, Jenny Okun, Stephen Partridge, Alison Winckle, amongst others including the five founder members Keith Frake, Nigel Frost, David Killen, Peter Todd, Margaret Warwick. Many of these artists would also be active in other organisations including, London Film Makers Co-op, London Musicians Collective, and London Video Arts. In due course Ayton Basement would become Basement Group and move to a new venue in Spectro Arts Workshop, and then continue to evolve with a new group of artists taking on Basement Group which would become Projects UK and continues today in Newcastle as Locus +. Curated by Peter Todd.

Sun 14th October
The Wayward Canon Presents: Simon and the Radioactive Flesh Dalston
Arcola Theatre, 27 Arcola Street, London E8 2DJ
A film and intermittent art video screening that transcends into a purgatorial nightclub setting.
Simon and the Radioactive Flesh uses Louis Bunuel's 45 minute film of an ascetic, Simon, a devotee of Simon Stylites, who proclaims his faith through standing on a column in the desert. The devil visits on several occasions to lure him from his duty, eventually succeeding in transposing him to purgatory; an existential beat nightclub in 1960's New York. In this reworking of the original film, each time the devil appears the narrative is interrupted by the insertion of a contemporary video art work. The interruptions continue throughout the film until finally we too are spatially interrupted, finding ourselves in a parallel to the purgatorial nightclub setting of the film's last dance, Carne Radioactivo (the Radioactive Flesh). With work by, Luis Bunuel, Sophie Brown & Cathrine Evelid, Dirk Bonn & Bernhard Willheim, Pablo Bronstein, Ben Callaway, Omer Ali Kazma, Mark Leckey, Assume Vivid Astro Focus

The Wayward Canon, founded by artist Mark Aerial Waller in 2001, is a shifting platform for the re-evaluation of cinema. Wayward Canon events include: My Kleine Fassbinderbar, a 15 hour monument to Fassbinder's 'Berlin Alexanderplatz', installed in a site specific bar with a mirror reflecting the screen, The Sun Set, an invitation for artists, poets and writers to respond to the disjointed temporality and epic theme of Aaron Spelling's Hollywood soap, 'Sunset Beach' and La Societé des Amis de Judex, the recontextualisation of Apollinaire's pre-surrealist attentions to the early popular cinema of Louis Feuillade, where a smoke machine acts as a spatial and temporal agent.

In Giles Round's work geometric shapes, minimal structures and monochrome planes are combined with objects such as plants, lights or three-dimensional texts. The relationships between these constituent parts together with their intended allegorical interpretations alter the seemingly formalist concerns of the work to partially reveal possible fictions, unspecified histories and scientific theories. The landscape of the city at night, filmic narratives and concepts of quantum physics are all suggested through the use of architectural materials, layers of cross-cultural referencing and coded geometric language. The reflective, often emotive undertone to Round's work often seeks not only to deal with grand overriding theories of everything but also heightened yet fleeting moments of existence such as isolation, emptiness, joy or hope.

Fri 2 november 8pm
Select: A Night with Mark Titchner
Clore Auditorium, Tate Britain, Millbank, London
Select invites British-based artists to choose a programme of performance, film and video works that reflect their interests and influences. This night is curated by Turner-prize nominated artist, Mark Titchner
Select is a LUX/ Tate Britain collaboration. part of Late at Tate.
Using Artists film, and diverse fragments of found films Mark Titchner's night explores the psychology of excess, control and altered states. Includes work from, Jennifer West, John Latham, Sharon Hayes and Paul Sharits. The programme will be interspersed with a visual mixtape of footage ranging from government information films to food ads from drive in cinemas specially selected by Mark Titchner.

Sundays 11 November & 18 November
Hollis Frampton’s Magellan Cycle
National Maritime Museum, London, SE10 9NF
The first ever UK screening of Hollis Frampton’s monumental film sequence. Hollis Frampton (1936-84) uses Ferdinand Magellan’s epic circumnavigation of the globe as a metaphor for a meditation on the history and language of cinema, and the phenomena of perception.
Originally intended as a 36-hour sequence in which individual titles would be shown on specific days in a calendar of one year and four days, it was left unfinished when Frampton died in 1984. The surviving 8 hours of material, comprising almost 30 films, will be screened over two consecutive weekends, as it was presented by the artist at the Whitney Museum, New York in 1980. Hollis Frampton, one of the key filmmakers of his generation, was also a noted photographer and theorist, whose remarkable writing is published frequently in Artforum and October.

Curated by Mark Webber, Senior Research Fellow, London College of Communication.

Tues 4 December 8.30pm
Rational Rec. Three Winter Potatoes
Bethnal Green Working Men's Club, 44 Pollard Row, London, E2 6NB
John Snijders performs UK piano music: Richard Ayres - No.8 / Cornelius Cardew - Three Winter Potatoes / Luke Stoneham - Carmen / Michael Finnissy - Gershwin Arrangements
John Snijders (The Netherlands) is one of the leading pianists internationally specializing in contemporary classical music. He is the artistic director of the Amsterdam based Ives Ensemble. Somehow, we've managed to persuade him to provide the piano accompaniment to our Fucked Up Karaoke.The Ivalo River Delta (Patrick Beveridge, 2007, 17min, 16mm) - selected by LUX
Shot within the Arctic Circle in northern Lapland, the film documents the landscape and lively night sky of an icy wilderness. The Aurora Borealis and other extraordinary phenomena are captured through long exposures and stunning time-lapse photography. With live music by Hanna Tuulikki

Patrick Beveridge was born in Madrid in 1967 and studied sculpture at Edinburgh College of Art and the Royal College of Art. His research on the light artist James Turrell was published in the journal Leonardo and he showed with this artist in Northern Lights, a group exhibition at the Fruitmarket Gallery.

Hanna Tuulikki is a musician and artist living in Glasgow who uses the voice as a tool to respond to environmental, social or emotional landscapes, both within musical forms of lyrical song and improvisation, and as a material in making sound based art-works. She is a member of the bands 'Nalle' and 'The Family Elan'. www.hannatuulikki.com

Bingo and Fucked Up Karaoke 3 with super prizes

Sat & Sun 8&9 december
The World of the Self/ Our World. The Films of Adam Curtis
Whitechapel Gallery, 80-82 Whitechapel High Street, E1 7QX
Adam Curtis is one of the best-known documentary filmmakers in Britain. His films have won numerous awards including 6 Baftas and have been shown at festivals around the world. They fuse together hard critical journalism with techniques borrowed from a wide-range of experimental film and video techniques.
Out of this he has created a body of work that examines how power functions in modern society – not just in politics but also in many of the institutions and activities that permeate our lives today – from science to consumerism, modern psychology and the way our society fights terrorism.
Over this unique weekend programmed by Adam Curtis a cross-section of episodes from various series that span his career propose a stunning argument. Considered together these works tell a bigger story than that of their specific subjects. It is the story of our time. How we have moved into a world that is dominated and driven by the ideas, the dreams and the emotional needs and cravings of the individual self.

Over two days Adam Curtis will show how episodes from four of his series can be re-conceptualized equally as the story of the rise of this ideology and a critical examination of how it has come to limit and trap both us and our leaders into a narrow and static universe.