New Artist Focus: Herb Shellenberger on Vanalyne Green
“This is about a living surrealism. Pretend you are dreaming. Everything is a blur. The scenes move from one into the other but for no
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“This is about a living surrealism. Pretend you are dreaming. Everything is a blur. The scenes move from one into the other but for no
ERASE AND FORGET, released by LUX on 2 March 2018, is the provocative new documentary from filmmaker and cultural activist Andrea Luka Zimmerman. It explores
Much queer cultural production in 1970s Spain, whether in comics, literature, music, or film, developed under the rubric of the “underground,” a label that is
Her movements are already punctuated by the movement of the camera, her pace, her time, her rhythm. (Cha, 1982, p.100[1]) Rehana Zaman’s Tell
In a publication for her 2013 video Shrugging Offing, within a text shamelessly titled ‘Bratty Bratty Brat Brat’, Lucy Clout describes the power of ‘NO’
The nude has long been a litmus test for the artist. But the nude was never a human body; it was always symbolic or allegorical,
In 1994, an episode of the BBC television documentary strand Arena focused on the queer English filmmaker Derek Jarman. It served as the premiere of
sometimes I find myself wondering if the castle is a castle at all a place apart, or merely the castle that every snail must carry
German writer Martin Arz recently initiated a project to memorialize Rainer Werner Fassbinder and Freddie Mercury with a decorated pissoir on Holzplatz in the Glockenbachviertel
Et maintenant par la grâce de l’imaginaire, bon voyage! – Guy Hocquenghem, Le Gay Voyage Picture a scene: young sportsmen at the end of a
It is relatively easy to distil the political to a cool academicism, to view it only via the lens of historiography or to abstract it
Having championed the ‘new romantic’ filmmakers such as John Maybury, Holly Warburton and Cerith Wyn-Evans that emerged at the end of the 1970s, Michael O’Pray
“The relationship between the absence of use, of activity, and the sense of freedom, of expectancy, is fundamental to understanding the evocative potential of the
Writing about art requires a subtraction—suspending my own assumptions about a work of art in advance of the encounter. How do I avoid attributing veracity
As the LFMC 50th anniversary year comes to an end, we have asked artist-filmmaker, and former Co-op worker, Nicky Hamlyn to reflect on the Co-op’s workshop and
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