Sarah Neely interview 

“What it is about the ideology that’s framing peoples perception of film at whatever time period you’re looking at? What is it about that, that makes these filmmakers invisible in some way?”

LUX Scotland talks to Sarah Neely about the politics of film histories.

Where I am is Here 

(1964)

“Where I am is here is social without story. It shows people, unknown to them, living and working and doing things with a kind of quotidian care and love, above all it shows a kind of calm survival, a getting-on-with-it, whether in the cleaning of or traversing of a street or the putting up of a new city. It does all this by forcing nothing, by allowing images their own voice. It is meditative and calm; its seeming structurelessness is a deception; its images are reverberative, as in all working poetic structure.” Ali Smith, LUX Online

Featured artist:
Annabel Nicholson 

“Once repaired the film starts again, but the pauses become more frequent as the brittle filmstrip deteriorates, needing further splices. The screen image becomes all-but-obliterated by light, unlike the real-time moving shadowgraph which remains constant. The performance ends with the film’s destruction, when the projectionist announces that it can no longer pass through the projector. The house-lights come on.” Felicity Sparrow, LUX Online