MASCON: A Massive Concentration Of Black Experiential Energy
Think of Mascon: A Massive Concentration Of Black Experiential Energy as an audiovisual investigation into the gestures, geometries, grammars and geographies that compose the forms
Think of Mascon: A Massive Concentration Of Black Experiential Energy as an audiovisual investigation into the gestures, geometries, grammars and geographies that compose the forms
The Eternal Return, the third instalment in the Dissolution trilogy, posits a now-struggling Sabu in 1952 as he supports his family by performing in Tom
‘The Fruit is There To Be Eaten’, the second instalment of the Dissolution Trilogy is based on Michael Powell and Emeric Pressburger’s Black Narcissus (1947).
Brown Queers developed out of a need to create a docufiction of intersectional identity through multiple personas and styles in 2016, when the footage for
In House of Women (2017), the artist recasts the role of a silent, dancing girl named Kanchi in the film Black Narcissus (1947). The coveted
Elephant Boy (2016) sees Krishna Istha re-enact the introductory sequence of Zoltan Korda’s Elephant Boy (1937), in which child actor Sabu recites lines by rote
The Invisible Worm is a funny / serious film with spontaneous moments of joy, physicality and thinking aloud. The subtext of the film is the
‘The Umpire Whispers’ is an exploration of the intimacy that arises between a swimming coach and an athlete. In the film, Manna returns to meet her coach
BLESSED BLESSED OBLIVION weaves together a portrait of masculine performativity in East Jerusalem, as manifested in gyms, body shops and hair dressing parlors. Inspired by
Wayfaring Stranger charts the life of an itinerant character, embodied by seven performers, across seven days, representing seven decades. Running from the city, through post-industrial
Margaret Salmon’s three films collectively titled Ninna Nanna, depict the experience of three Italian mothers raising their children, with the films linked by a traditional
A portrait of American poet Eileen Myles. Outtakes from the filming of I HOPE I’M LOUD WHEN I’M DEAD.
Double Exposure re-stages photographs of Pucill and her once partner, filmmaker Sandra Lahire that were made collaboratively shortly before Lahire’s death from anorexia in 2001.
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